In Jón Leifs and the Musical Invention of Iceland, Árni Heimir Ingólfsson provides a striking account of the dramatic career of Iceland's iconic composer. Leifs (1899–1968) was the first Icelander to devote himself fully to composition at a time when a local music scene was only beginning to take form. He was a fervent nationalist in his art, fashioning an idiosyncratic and uncompromising 'Icelandic' sound from traditions of vernacular music with the aim to legitimize Iceland as an independent, culturally empowered nation. In addition to exploring Leifs's career, Ingólfsson provides detailed descriptions of Leifs's major works and their cultural contexts. Leifs's music was inspired by the Icelandic landscape and includes auditory depictions of volcanos, geysers, and waterfalls. The raw quality of his orchestral music is frequently enhanced by an expansive percussion section, including anvils, stones, sirens, bells, ships' chains, shotguns, and cannons. Largely neglected in his own lifetime, Leifs's music has been rediscovered in recent years and hailed as a singular and deeply original contribution to twentieth-century music. Jón Leifs and the Musical Invention of Iceland enriches our understanding and appreciation of Leifs and his music by exploring the political, literary and environmental contexts that influenced his work.

In Jón Leifs and the Musical Invention of Iceland, Árni Heimir Ingólfsson provides a striking account of the dramatic career of Iceland's iconic composer. Leifs (1899–1968) was the first Icelander to devote himself fully to composition at a time when a local music scene was only beginning to take form. He was a fervent nationalist in his art, fashioning an idiosyncratic and uncompromising 'Icelandic' sound from traditions of vernacular music with the aim to legitimize Iceland as an independent, culturally empowered nation. In addition to exploring Leifs's career, Ingólfsson provides detailed descriptions of Leifs's major works and their cultural contexts. Leifs's music was inspired by the Icelandic landscape and includes auditory depictions of volcanos, geysers, and waterfalls. The raw quality of his orchestral music is frequently enhanced by an expansive percussion section, including anvils, stones, sirens, bells, ships' chains, shotguns, and cannons. Largely neglected in his own lifetime, Leifs's music has been rediscovered in recent years and hailed as a singular and deeply original contribution to twentieth-century music. Jón Leifs and the Musical Invention of Iceland enriches our understanding and appreciation of Leifs and his music by exploring the political, literary and environmental contexts that influenced his work.

An essential exploration of Nordic composers and musicians, and the distinctive culture that continues to shape them Once considered a musical backwater, the Nordic region is now a musical powerhouse. Conductors from Denmark and Finland dominate the British and American orchestral scene. Interest in the old masters Sibelius and Grieg is soaring and progressive pop artists like Björk continue to fascinate as much as they entertain. Andrew Mellor journeys to the heart of the Nordic cultural psyche. From Reykjavik to Rovaniemi, he examines the success of Nordic music’s performers, the attitude of its audiences, and the sound of its composers past and present—celebrating some of the most remarkable music ever written along the way. Mellor peers into the dark side of the Scandinavian utopia, from xenophobia and alcoholism to parochialism and the twilight of the social democratic dream. Drawing on a range of genres and firsthand encounters, he reveals that our fascination with Nordic societies and our love for Nordic music might be more intertwined than first thought.

The Nature of Nordic Music explores two distinctive yet complementary understandings of the term ‘nature’: the inherent features, characters and qualities of contemporary Nordic music, and how the elemental forces of nature, the phenomena of the physical world (landscape, climate, environment), inspire and condition creativity here. Within a broader debate about the meaning of ‘Nordicness’, 12 case studies challenge our assumptions about a ‘Nordic tone’ to reveal a creative energy that is diverse and cosmopolitan in outlook. Each of the three parts of the book – ‘Identities’, ‘Images’ and ‘Environments’ – accommodates an eclectic array of musical genres (classical, popular, jazz, folk, electronic). This book will appeal to anyone interested in Nordic music and culture, especially students and researchers.

This innovative book reassesses the history of musicology, unearthing the field’s twentieth-century German and global roots. In the process, Anna Maria Busse Berger exposes previously unseen historical relationships such as those between the modern rediscovery of medieval music, the rise of communal singing, and the ways in which African music intersected with missionary work in the German colonial period. Ultimately, Busse Berger offers a monumental new account of the early twentieth-century music culture in Germany and East Africa. ?The book unfolds in three parts. Busse Berger starts with the origins of comparative musicology circa 1900, when early proponents used ideas from comparative linguistics to test whether parallels could be drawn between nonwestern and medieval European music. She then turns to youth movements of the era—the Wandervogel, Jugendmusikbewegung, and Singbewegung—whose focus on joint music making influenced many musicologists. Finally, she considers case studies of Protestant and Catholic mission societies in what is now Tanzania, where missionaries—many of them musicologists and former youth-group members—extended the discipline via ethnographic research and a focus on local music and communities. In highlighting these long-overlooked transnational connections and the role of global music in early musicology, Busse Berger shapes a fresh conception of music scholarship during a pivotal part of the twentieth century.

wide-ranging essays on different aspects of Icelandic music, from the ancient traditional chants of rímur to the large output of classical music to the plethora of Icelandic rock and pop groups that have already made an impact on the world as well as more idiosyncratic and genre-bending contemporary musicians.

Contains nearly 1000 pages of precise and accessible information on all musical subjects.

Based on private diaries, correspondence, and unpublished writings, George Rochberg, American Composer, reveals the impact of personal trauma on the creative and intellectual work of a leading postmodern composer.

'A joyously peculiar book' - The New York Times 'A fascinating insight into Icelandic culture and a fresh perspective on her global influence. Warning: may well make readers wish they were Icelandic, too.' - Helen Russell, author of The Year of Living Danishly The untold story of how one tiny island in the middle of the Atlantic has shaped the world for centuries. The history of Iceland began 1,200 years ago, when a frustrated Viking captain and his useless navigator ran aground in the middle of the North Atlantic. Suddenly, the island was no longer just a layover for the Arctic tern. Instead, it became a nation whose diplomats and musicians, sailors and soldiers, volcanoes and flowers, quietly altered the globe forever. How Iceland Changed the World takes readers on a tour of history, showing them how Iceland played a pivotal role in events as diverse as the French Revolution, the Moon Landing, and the foundation of Israel. Again and again, one humble nation has found itself at the frontline of historic events, shaping the world as we know it - How Iceland Changed the World paints a lively picture of just how it all happened. 'Egill Bjarnason has written a delightful reminder that, when it comes to countries, size doesn't always matter. His writing is a pleasure to read, reminiscent of Bill Bryson or Louis Theroux. He has made sure we will never take Iceland for granted again.' A.J. Jacobs, New York Times bestselling author of Thanks a Thousand and The Year of Living Biblically 'Bjarnason's intriguing book might be about a cold place, but it's tailor-made to be read on the beach.' - New Statesman 'Egill Bjarnason places Iceland at the center of everything, and his narrative not only entertains but enlightens, uncovering unexpected connections.' Andri Snær, author of On Time and Water 'Icelander Egill Bjarnason takes us on a high-speed, rough-and-tumble ride through 1,000-plus years of history-from the discovery of America to Tolkien's muse, from the French Revolution to the NASA moonwalk, from Israel's birth to the first woman president-all to display his home island's mind-opening legacy.' Nancy Marie Brown, author of The Real Valkyrie and The Far Traveller 'I always assumed the history of Iceland had, by law or fate, to match the tone of an October morning: dark, gray, and uninviting to most mankind. This book challenges that assumption, and about time. Our past, much like the present, can be a little fun.' Jón Gnarr, former mayor of Reykjavík and author of The Pirate and The Outlaw 'How Iceland Changed the World is not only surprising and informative. It is amusing and evocatively animates a place that I have been fascinated with for most of my life. Well worth the read!' - Jane Smiley, Pulitzer Prize-winning author of A Thousand Acres 'An entertaining, offbeat (and pleasingly concise) history of the remote North Atlantic nation ... perfect for a summer getaway read' - The Critic