Preserving Icelandic popular music heritage : issues of collection, access and representation
For a small country with a population of approximately 350,000 people, Iceland releases a prodigious volume of popular music, and has borne artists who have come to be known globally, such as Björk, Sigur Rós and Of Monsters and Men. As Prior notes (2015, 81), over the last 30 years ‘Iceland’s reput...
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ftunivwestsyd:oai:researchdirect.westernsydney.edu.au:uws_54589 2023-05-15T16:46:07+02:00 Preserving Icelandic popular music heritage : issues of collection, access and representation Cantillon, Zelmarie (R20056) Buttigieg, Bob Baker, Sarah Istvandity, Lauren (Editor) Baker, Sarah (Editor) Cantillon, Zelmarie (Editor) 2019 print 14 https://doi.org/10.2307/j.ctvjz834z.14 https://hdl.handle.net/1959.7/uws:54589 eng eng U.K., Anthem Press Remembering Popular Music's Past: Memory-Heritage-History--9781783089697--9781783089703 pp: 131-144 XXXXXX - Unknown Iceland popular music musicians book chapter 2019 ftunivwestsyd https://doi.org/10.2307/j.ctvjz834z.14 2020-12-05T18:33:43Z For a small country with a population of approximately 350,000 people, Iceland releases a prodigious volume of popular music, and has borne artists who have come to be known globally, such as Björk, Sigur Rós and Of Monsters and Men. As Prior notes (2015, 81), over the last 30 years ‘Iceland’s reputation has been increasingly tied to the prominence of its music’. In this same period, Iceland has also seen the heritagization of its popular music his-tory through the production of music documentaries such as Rokk i Reykjavík (1982), Popp i Reykjavík (1998), Screaming Masterpiece (2005), Electronica Reykjavík (2008) and Tónlist: Icelandic Music Documentary (2014); the release of books like Blue Eyed Pop: The History of Popular Music in Iceland (2013); reissues of classic albums from the SENA label; and travelling exhibitions including Lobster or Fame (2003), which celebrates two decades of the Bad Taste label. In add-ition, museums devoted to the preservation and display of popular music have opened, including Rokkheimur Rúnars Júlíussonar (trans. Rock World of Rúnars Júlíusson, est. 2009), Pönksafn Íslands (trans. Icelandic Punk Museum, est. 2016), Rokksafnið (trans. Icelandic Museum of Rock ’n’ Roll, est. 2014) and Tónlistarsafn Íslands (trans. Icelandic Music History Museum, est. 2009). Several national institutions also collect artefacts related to popular music, including Ríkisútvarpið (trans. Icelandic National Broadcasting Service) and Landsbókasafn Íslands – Háskólabókasafn (trans. National and University Library of Iceland). Popular music has arguably ‘played a fundamental role in producing and mediating senses of Icelandic identity and locale for both Icelanders and non- Icelanders alike’ (Cannady 2014, 145). The institutions and heritage products mentioned above reflect and reinforce, in material form, versions of what it means to be Icelandic – a national identity, ‘shaped in the struggle for independence’ from Denmark (Gudmundsson 1993, 53), and productively synthesized ‘as early as 1950’ (Mitchell 2013, 51) as Icelandic musicians combined ‘American popular music and the cultural heritage of Iceland by making records in which Icelandic pop- singers sang Icelandic lyrics to American rock- hits’ (Gudmundsson 1993, 53). Book Part Iceland Reykjavík Reykjavík University of Western Sydney (UWS): Research Direct American Rock ENVELOPE(-55.731,-55.731,53.300,53.300) Icelandic Punk Museum ENVELOPE(-21.936,-21.936,64.147,64.147) Reykjavík 131 144 |
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University of Western Sydney (UWS): Research Direct |
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English |
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XXXXXX - Unknown Iceland popular music musicians |
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XXXXXX - Unknown Iceland popular music musicians Cantillon, Zelmarie (R20056) Buttigieg, Bob Baker, Sarah Preserving Icelandic popular music heritage : issues of collection, access and representation |
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description |
For a small country with a population of approximately 350,000 people, Iceland releases a prodigious volume of popular music, and has borne artists who have come to be known globally, such as Björk, Sigur Rós and Of Monsters and Men. As Prior notes (2015, 81), over the last 30 years ‘Iceland’s reputation has been increasingly tied to the prominence of its music’. In this same period, Iceland has also seen the heritagization of its popular music his-tory through the production of music documentaries such as Rokk i Reykjavík (1982), Popp i Reykjavík (1998), Screaming Masterpiece (2005), Electronica Reykjavík (2008) and Tónlist: Icelandic Music Documentary (2014); the release of books like Blue Eyed Pop: The History of Popular Music in Iceland (2013); reissues of classic albums from the SENA label; and travelling exhibitions including Lobster or Fame (2003), which celebrates two decades of the Bad Taste label. In add-ition, museums devoted to the preservation and display of popular music have opened, including Rokkheimur Rúnars Júlíussonar (trans. Rock World of Rúnars Júlíusson, est. 2009), Pönksafn Íslands (trans. Icelandic Punk Museum, est. 2016), Rokksafnið (trans. Icelandic Museum of Rock ’n’ Roll, est. 2014) and Tónlistarsafn Íslands (trans. Icelandic Music History Museum, est. 2009). Several national institutions also collect artefacts related to popular music, including Ríkisútvarpið (trans. Icelandic National Broadcasting Service) and Landsbókasafn Íslands – Háskólabókasafn (trans. National and University Library of Iceland). Popular music has arguably ‘played a fundamental role in producing and mediating senses of Icelandic identity and locale for both Icelanders and non- Icelanders alike’ (Cannady 2014, 145). The institutions and heritage products mentioned above reflect and reinforce, in material form, versions of what it means to be Icelandic – a national identity, ‘shaped in the struggle for independence’ from Denmark (Gudmundsson 1993, 53), and productively synthesized ‘as early as 1950’ (Mitchell 2013, 51) as Icelandic musicians combined ‘American popular music and the cultural heritage of Iceland by making records in which Icelandic pop- singers sang Icelandic lyrics to American rock- hits’ (Gudmundsson 1993, 53). |
author2 |
Istvandity, Lauren (Editor) Baker, Sarah (Editor) Cantillon, Zelmarie (Editor) |
format |
Book Part |
author |
Cantillon, Zelmarie (R20056) Buttigieg, Bob Baker, Sarah |
author_facet |
Cantillon, Zelmarie (R20056) Buttigieg, Bob Baker, Sarah |
author_sort |
Cantillon, Zelmarie (R20056) |
title |
Preserving Icelandic popular music heritage : issues of collection, access and representation |
title_short |
Preserving Icelandic popular music heritage : issues of collection, access and representation |
title_full |
Preserving Icelandic popular music heritage : issues of collection, access and representation |
title_fullStr |
Preserving Icelandic popular music heritage : issues of collection, access and representation |
title_full_unstemmed |
Preserving Icelandic popular music heritage : issues of collection, access and representation |
title_sort |
preserving icelandic popular music heritage : issues of collection, access and representation |
publisher |
U.K., Anthem Press |
publishDate |
2019 |
url |
https://doi.org/10.2307/j.ctvjz834z.14 https://hdl.handle.net/1959.7/uws:54589 |
long_lat |
ENVELOPE(-55.731,-55.731,53.300,53.300) ENVELOPE(-21.936,-21.936,64.147,64.147) |
geographic |
American Rock Icelandic Punk Museum Reykjavík |
geographic_facet |
American Rock Icelandic Punk Museum Reykjavík |
genre |
Iceland Reykjavík Reykjavík |
genre_facet |
Iceland Reykjavík Reykjavík |
op_relation |
Remembering Popular Music's Past: Memory-Heritage-History--9781783089697--9781783089703 pp: 131-144 |
op_doi |
https://doi.org/10.2307/j.ctvjz834z.14 |
container_start_page |
131 |
op_container_end_page |
144 |
_version_ |
1766036250533298176 |