ABSTRACT
This chapter attempts to set the scene for a contextualized interpretation of Icelandic men’s perceptions of vocal experience. Concentrating on singing in the lives of individual Icelanders, like Baldur, rather than individual vocal styles or genres, is not to deny the importance of historical situatedness, nor the significance of those vocal styles and traditions peculiar to Iceland. Many voices may be heard and many songs sung by all kinds of vocal groups, even by the same group or individual, for all kinds of reasons. Visitors to Iceland interested in folk music practice are regularly surprised to discover that it is almost totally dominated by vocal music and that what little instrumental traditions there are, are almost entirely concerned with the subservient role of accompanying singing. Iceland has its own internationally acclaimed symphony orchestra, professional opera company and a highly developed community music school system.
