History of Icelandic Music

Icelandic national music has existed since the earliest days of the country's history. This is evidenced by ancient songs and parables that form part of the national epic. With the adoption of Christianity in the 11th century, folk music began to develop alongside church music.

In the 12th century, songs appeared that accompanied national dances but had no musical accompaniment. These songs were followed by vikivaki, a type of song with a distinctive rhythm. The poetry of the skalds had a profound influence on Icelandic folk music, which is characterized by alternating rhymes. In the middle of the 14th century, rimur appeared, a form of folk singing similar to modern rap.

Musical instruments have always been less popular in Iceland than vocals. The most common instruments were the langspill zither, which had two strings tuned to the same pitch and a third string an octave lower. There were also single-string langspills and the bowed instrument fiddle. Other stringed instruments were very rare.

The art of folk singing was highly respected in Iceland, and traditional musical practices continue to be upheld by Icelanders today. Modern performances differ from ancient singing styles in their specific two-part harmony and unevenly alternating rhythms.

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Professional music began to develop at the end of the 19th century, after Iceland gained sovereignty. With the expansion of contacts with other countries, European music began to influence Icelandic musical traditions. Sveinbjörn Sveinbjörnsdóttir, who composed the Icelandic national anthem, is considered the father of national music. In addition, he wrote several compositions for violin and piano, as well as ballads and cantatas.

At the turn of the 19th and 20th centuries, compositions for piano and voice by J. Laxdal and H. Helgason gained popularity. B. Thorsteinsson played a major role in the study of Icelandic folklore, compiling a collection of Icelandic folk music. Many composers of the last century were educated in Europe but were actively involved in folk music.

In modern Iceland, there are many different clubs and communities dedicated to national music. Despite the popularity of modern music, Icelandic culture and traditions have not been forgotten. A thriving music scene has developed in the country and continues to evolve.

The history of Lebanese music

Lebanon's cultural landscape is in many ways similar to that of Syria, and music and dance are deeply rooted in the hearts of its inhabitants. Lebanese traditional music is based on centuries-old folklore, which is still carefully preserved and loved by the locals, especially the villagers, who are prone to improvisation. The first attempts to systematize the country's folklore were made by the brothers Mansour Rahbani and Ali, who are considered pioneers in the development of Lebanese music.

Young girls often dance with scarves, and old men with hookahs, a traditional smoking device. Each dance was accompanied by traditional Arabic instruments - the oud, the nay, and the drum.

In 1956, at the request of the president, Soviet choreographer Igor Moiseyev arrived in the country to help create the first Lebanese folk dance ensemble. This step was intended to raise the country's cultural status on the international stage and demonstrate the diversity of its dance and music traditions.

Although the performing arts are still in their infancy, there has been noticeable progress in this area, with the establishment of the Higher School of Art History in Beirut. The school offers courses in various artistic disciplines, from visual arts to dance and music. The country also has a high-class chamber orchestra that regularly performs in front of audiences at various events.