PREFACE This book is not intended to be an overall history of Icelandic music, nor is it a book for the music scholar that lays empha- sis on structural analysis of the works discussed. It is, rather, a book about the new art music composed in Iceland since World War II, with the aim of reaching that broad public that enjoys music and is interested in learning something about the development of musical composition in Iceland. I have therefore chosen to approach the music through social, eco- nomic and cultural contexts rather than through detailed structural analysis of the various works. To lay the groundwork for a better understanding of the goals and works of later Icelandic musicians, I have written to some extent about the relevant aspects of Icelandic life, language and background. The past was, of course, coloured by the demands and conditions of the times, and the music in turn was coloured by heritage and by cultural definition and expectations of what the music should be and how it should be performed. I have tried, however briefly, to show how the pioneers of the modern Icelandic musical scene grew out of and drew on this earlier background - how they received their education and what were their sources of information. The book therefore presents an overall picture of the general background, and as regards music a selective and fragmented view up to the year 1850, followed by a more carefully delineated look at the century from 1850 - 1950. In order to round out the total picture and make it more meaningful, rather than concentrate wholly on art music the book also touches on folk music and jazz, among other aspects of Icelandic musical life. This book is primarily a subjective account. My own studies - the listener’s experience, understanding and evaluation of the music - have been the only possible point of departure and light for guidance through the almost virgin territory that the book deals with. I have relied principally on listening to the music itself and on interviews with the composers and musicians involved. My knowledge of Icelandic is too limit- ed to allow me to go deep into original Icelandic sources. I am aware that the limitations of this method have meant that

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