Viking Musical Traditions:
Instruments and Compositions Automatic translate

The music of the northern peoples of the Viking Age was a complex and multifaceted cultural phenomenon that significantly influenced everyday life, religious rituals, and military campaigns. The Vikings, often perceived as ruthless warriors and seafarers, had a rich musical culture that reflected their worldview, beliefs, and social organization. Archaeological finds, literary sources, and ethnographic studies allow us to reconstruct the sound world of the Scandinavian peoples of the 8th-11th centuries and show the importance of music in their lives. Viking musical traditions included a variety of instruments, from simple flutes made of animal bones to complex string instruments, a rich song culture represented by skaldic poetry and folk songs, and a special attitude toward music as a magical means of interaction with higher powers.

The Historical Legacy of Viking Music

Music played an important role in the lives of Scandinavian peoples during the Viking Age. It accompanied various aspects of their daily activities, holidays, religious rituals, and military events. The Vikings used music not only for entertainment, but also as a means of transmitting historical knowledge, strengthening community ties, and religious practices.

The social role of music in Viking culture was multifaceted. Music served as a means of communication between people and divine powers. It was used to convey historical experience - the exploits of warriors and the deeds of kings were immortalized in the songs of skalds. Music played an organizing role - the rhythmic chants of rowers coordinated the movements of the oars on ships, work songs facilitated collective work. Music also strengthened the sense of community during feasts and holidays.

The reconstruction of Viking musical culture is based on several types of sources. Archaeological finds include the remains of musical instruments found during excavations of Viking settlements and burials. Written sources such as sagas, Edda poetry, and skalds contain references to musical traditions and the role of music in society. Folklore and ethnographic studies of the peoples of Scandinavia make it possible to trace the continuity of musical traditions from the Viking Age to later times. Visual sources - images on stones, runic monuments, and household items - sometimes include scenes of music-making, giving an idea of ​​the shape of the instruments and the ways of playing them.

Despite the limited sources, modern researchers have been able to reconstruct the main features of Viking musical culture, including the types of instruments used, the genre diversity of songs, and the meaning of music in different contexts.

Viking Musical Instruments

Viking musical instruments were varied and included wind, string and percussion instruments. Some of them were unique to Scandinavian culture, while others had analogues among various peoples of the world.

Wind instruments

Viking wind instruments were an important part of their musical culture and were used both in everyday life and on special occasions.

The horn (lur) is one of the most characteristic wind instruments of the Viking Age. It was made from animal horn (cow, bull, goat) or metal. Archaeological finds of lurs vary in size and shape. The instrument could be straight or curved, and range in length from several tens of centimeters to a meter or more. For example, a lur found in Denmark in the 1990s was 78-79.5 cm long, while the specimen from the famous Oseberg ship burial was 106.5 cm long.

The functions of the lur were varied. In peaceful life, it could be used by shepherds to call their cattle or to signal other shepherds. In military affairs, the lur served for signaling - warning of the approach of an enemy, gathering warriors before a battle, and coordinating actions in battle. The lur could also be used during religious ceremonies and holidays.

The sound of the lur depended on its size, shape and material of manufacture. Large instruments produced low, humming sounds, small ones – higher and shriller. The range was limited to several notes, which was determined by the physical properties of the instrument.

The flute was a common instrument among the Vikings, as well as many other ancient peoples. Scandinavians made flutes from various materials - most often from the bones of animals (cows, deer, sheep) or large birds. Wood was also used, although wooden flutes are less well preserved in archaeological layers.

The flute’s design was fairly simple. Several holes were made in the tube, usually 15-30 cm long. The basic model had three holes, which allowed for a limited range of sounds. However, archaeologists have found examples with seven holes, which significantly expanded the instrument’s sound range.

The flute was used primarily for entertainment, but could also have other functions - accompanying dances, rituals or storytelling. The playing technique consisted of directing the air flow to the sharp edge of the hole and adjusting the pitch of the sound using the holes in the body.

The Viking pan flute was a special type of wind instrument, different in design from the common European pan flute. Archaeological finds, including a specimen excavated in York, England, dating back to the 10th century, make it possible to reconstruct the instrument.

Unlike the classic pan flute, which consists of several pipes of different lengths, the Scandinavian version was made from a single piece of wood. Five holes of different depths were cut into it, each of which produced a specific note when blown with air. The famous York example made it possible to produce the notes C-sharp, D, E, A and B. The top of the instrument was beveled to make it easier for the musician to hold it with his lips and play.

The Viking pan flute was probably used to play simple melodies and accompany songs. Its compact size made it convenient for travel, and its relative ease of manufacture meant that many people owned one.

The shalmei is an instrument that looks like a flute, but has a fundamentally different method of producing sound. To play the shalmei, it was necessary to create a strong air flow that vibrated the reed tongue, generating sound. This process required significant physical effort and special skills.

There is a hypothesis that the Vikings could have used a special leather bag to create an air flow, turning the shawm into a part of the bagpipe. In this case, the shawm became the melody pipe of the early prototype of the bagpipe, which was widespread in later times throughout Europe.

The sound of the shalmei was piercing and bright, which made it especially effective for performance outdoors during holidays and ceremonies.

The munharpa (Scandinavian jaw harp) was a small instrument belonging to the jaw harp family, one of the oldest types of musical instruments known to mankind. Jaw harps in various variations are found in many nations around the world under different names: doromb in Hungary, murchunga in Nepal, dan moi in Vietnam, etc.

The munharpa was made of metal (iron, bronze) or bone and had the shape of a horseshoe with a thin tongue in the center. To play, the instrument was pressed against the teeth, leaving a small gap between them, and the tongue was struck with a finger. The vibration was transmitted through the teeth and skull, and the oral cavity served as a resonator. By changing the shape of the oral cavity, the musician could change the timbre and shades of the sound.

The sound of the munharpa was specific - buzzing, vibrating, with a rich overtone composition. This instrument was used for solo playing and, perhaps, had a ritual significance associated with altered states of consciousness and communication with the spiritual world.

String instruments

String instruments held a special place in Viking musical culture, accompanying skald songs and creating an atmosphere during feasts and celebrations.

The lyre (kratt, talharpa) is a plucked string instrument that was widespread in Northern Europe during the early Middle Ages. The Viking lyre was a small instrument with a wooden body and stretched strings made of animal sinew. The number of strings varied from 5 to 7. The body had a resonator hole to amplify the sound.

The lyre was used to accompany songs, for solo playing, and possibly for music instruction. Playing techniques included fingerpicking the strings or using a plectrum made of bone or horn.

Archaeological finds of Viking Age lyres are relatively rare due to the organic nature of most of the instrument’s parts. However, surviving examples and images allow us to reconstruct their structure and sound.

The gusli is a plucked string instrument common among the Slavic peoples, but also had analogues among the Scandinavians. The Scandinavian versions of the gusli were called kantele by the Finns and kannel by the Estonians. These instruments had a flat wooden body of a trapezoid or oval shape with parallel strings made of animal sinew or metal.

The number of strings could vary from 5-6 in early models to 10-12 in later versions. The gusli was played by placing the instrument horizontally on the knees or table, plucking the strings with the fingers of both hands.

The gusli was used to accompany storytelling, songs, and also for solo performance of instrumental compositions. The instrument had a soft, melodious sound, suitable for chamber performance indoors.

Percussion instruments

Percussion instruments played an important role in Viking musical culture, especially in the context of ritual practices and warfare.

The shamanic drum was a percussion instrument consisting of a wooden rim and a membrane of animal skin stretched over it. The process of making the drum was labor-intensive and included several stages. First, the rim was prepared - pieces of wood were soaked in water for about a week to make them flexible. Then the softened wood was rolled into a ring and held over a fire to fix the shape. The edges were connected with metal clamps or leather straps.

A membrane made from the skin of an animal - a horse, goat, bull, bear or other animal - was stretched over the finished frame. The membrane was often decorated with symbolic drawings that had religious significance or amulets.

The size of the drum affected the nature of the sound: small drums with a diameter of about 30 cm produced a ringing, high-pitched sound, while larger instruments provided a deep, rich sound. The drum was played either by striking the membrane with the hand or with a special mallet. The mallet was often covered with fur so as not to damage the membrane when striking.

The humidity of the environment could affect the tension of the membrane and, therefore, the sound of the instrument. If the membrane was deformed due to moisture, the sound became worse. In such cases, the tambourine was dried over a fire so that the membrane would tightly stretch over the frame again.

The shamanic drum was used primarily in religious rituals. Rhythmic beats helped the priest or shaman enter a trance, which was necessary for communicating with spirits and gods. Drums could also be used in military operations to transmit signals and intimidate the enemy.

Drums of various types were used by the Vikings along with shamanic drums. Unlike flat drums, drums could be cylindrical in shape with membranes stretched over both ends of a hollow wooden cylinder.

The manufacturing technology was similar to that of tambourines, but required greater skill to create the cylindrical body. The membranes were attached to the body using leather straps or ropes, which also served to adjust the tension and, accordingly, the pitch.

Drums were used in a variety of contexts - to set the rhythm in dances, to accompany songs, in military campaigns to coordinate the actions of warriors, and in religious ceremonies.

Percussion instruments - various rattles, bells, rattles - were also part of the Vikings’ musical instrumentation. These simple instruments were made of various materials - wood, metal, bone - and could have either a purely musical or magical purpose.

Rattles were made of wood or bone, creating a design that produced a cracking or knocking sound when shaken or struck. Bells were cast from bronze or iron and hung on leather straps or ropes. Rattles were made from hollow containers with small stones or seeds placed inside.

Percussion instruments were used to create rhythmic accompaniment to songs and dances, as well as in magical practices to ward off evil spirits. The ringing of metal and the sharp sounds of rattles were believed to be able to destroy harmful magic and protect against supernatural dangers.

Viking song art

The song tradition played a central role in the musical culture of the Vikings. Songs accompanied various aspects of the lives of the northern peoples - from everyday work to military campaigns and religious ceremonies.

Skaldic poetry

Skalds were professional poet-singers who occupied a special position in Viking society. The word "skald" comes from the Old Norse "skáld", meaning "poet". Skalds often lived at the courts of konungs (rulers) and jarls (noble warriors), where they created and performed poetry glorifying the exploits of the ruler and his retinue.

According to Scandinavian mythology, the poetic gift of the skalds was of divine origin. The Vikings believed that the skalds received their abilities by drinking the mead of poetry of Kvasir. According to the myth, Kvasir was the wisest being, created from the saliva of the gods Aesir and Vanir. After his death, a drink was created from his blood mixed with mead, which granted poetic talent. This myth explained why some people were able to write poetry and sing with ease, while others were not.

Skaldic poetry was distinguished by a complex metric and a system of allegories (kennings). Kennings were metaphorical substitutions for ordinary words, for example, "sea horse" instead of "ship", "feeder of ravens" instead of "warrior". Such a complex system of images required listeners to have a good knowledge of mythology and traditions.

Skalds performed their works mainly without musical accompaniment, in recitative. They sang only about events that they themselves witnessed, which gave their poetry the authenticity of a historical source. Thus, the oral poetry of skalds served as a means of recording historical events and passing them on to subsequent generations.

The main genres of skaldic poetry were:

• Drapa is a solemn song of praise in honor of a ruler or hero
• Floccus is a less formal poetic work without a refrain.
• Nidas are satirical, often offensive poems.
• Mansyong - love poetry

The skaldic tradition flourished in the 9th-11th centuries and gradually died out with the Christianization of Scandinavia, although individual elements survived in Icelandic poetry until the 13th century.

Viking folk songs

In addition to professional skaldic poetry, Viking culture had a rich tradition of folk songs performed in everyday life.

Work songs accompanied various types of work and helped organize collective efforts. Of particular importance were the songs of rowers on Viking ships. Rhythmic chants helped synchronize the movements of the oars, which was critical for the maneuverability of the vessel. Similar songs existed for other types of collective work - harvesting, fishing, hunting.

Table songs were performed during feasts and holidays. Warriors sang of their military exploits and successes in campaigns, shared stories about travels to distant lands. These songs strengthened community ties and supported the fighting spirit of the squad.

Everyday songs accompanied the daily life of the Vikings - lullabies, songs for children’s games, love songs. They were passed down from generation to generation and reflected the worldview and values ​​of the Scandinavian peoples.

Unfortunately, almost no authentic Viking folk songs have survived in their original form. One of the rare exceptions is the composition "Drømde mik en drøm i nat" ("Last night I had a dream"). The recording of this song dates back to the 14th century, but researchers believe that the song itself is much older. It is written in Old Norse and is included in the manuscript Codex Runicus.

The surviving lyrics to the song are extremely laconic: “Drømde mik en drøm i nat um silki ok ærlik pæl”. There are various translations of this text:

• “Last night I had a dream about silk and beautiful fur.”
• “Last night I had a dream about silk and expensive fabric.”
• “Last night I had a dream about justice and fairness.”

Along with the lyrics, the musical notation of the melody has been preserved, making "Drømde mik en drøm i nat" a unique source for reconstructing the sound of Old Norse music. Modern performers offer various interpretations of this song based on the surviving notation.

Ritual and ceremonial music

Music played an important role in the religious life of the Vikings, accompanying various ceremonies and rituals associated with the cult of Scandinavian gods and ancestors.

The Role of Music in Religious Ceremonies

During the Viking Age, people believed in the magical nature of music and singing. They believed that musical sounds, like spoken spells, could influence the surrounding world, call upon gods and spirits, and drive away evil forces.

Viking religious ceremonies often included musical accompaniment. During sacrifices to the gods, seasonal cycle holidays (for example, Yule - the winter solstice, or Midsummer - the summer solstice), burial rites and other rituals, songs and music were heard.

Songs addressed to the gods glorified their exploits and power. They served as a means of communication between people and divine forces. Of particular importance were the chants dedicated to Odin, the supreme god in the Scandinavian pantheon, patron of poetry and magic.

The magical meaning of music

The Vikings attributed magical properties to music and singing. Certain melodies and rhythms were believed to be able to heal illnesses, provide protection in battle, attract good luck, or cast curses on enemies.

Galdr is a special kind of chant associated with runic spells. Performing galdr involved singing or recitative with a special intonation and rhythm. It was believed that properly performed galdr activates the magical power of the runes and allows one to influence reality.

Seidr is a form of shamanic practice often accompanied by rhythmic drumming and monotonous chanting. The rhythmic sounds helped the seidr practitioner (völva or shaman) enter a trance and travel between worlds to gain knowledge or influence events.

Percussion instruments, especially shamanic drums, played a significant role in these rituals. Rhythmic beats created a special sound background that contributed to a change in the state of consciousness of the participants in the ritual. The monotonous rhythm of the drum, the repetitive sounds of rattles and bells led to a trance state and enhanced the perception of sacred space and time.

Modern Interpretations of Viking Music

Interest in the music of the Viking Age does not fade in the modern world. Archaeological finds of musical instruments, studies of literary sources and ethnographic materials allow us to reconstruct the sound of ancient Scandinavian music and adapt it for a modern audience.

Archaeological reconstructions

Modern craftsmen make replicas of Viking musical instruments based on archaeological finds. These reconstructions allow us to get closer to the authentic sound of ancient Scandinavian music.

The reconstruction process includes several stages:

1. Study of surviving original instruments or their fragments
2. An analysis of the technologies and materials available during the Viking Age
3. Making a replica using traditional methods and materials
4. Experimental study of the sound capabilities of the instrument

Musicians who specialize in historical reconstruction study ancient ways of playing these instruments based on images, literary descriptions, and ethnographic parallels. The result is music that is as close to historical accuracy as possible, although a full recreation of the authentic sound remains impossible due to the limited sources.

Modern musical groups

There are currently many musical groups that draw inspiration from Viking culture and create compositions in a style that is close to the historical sound or adapt Scandinavian motifs for a modern audience.

Wardruna is a Norwegian musical project founded in 2003. The band uses reconstructed ancient Scandinavian instruments and bases their work on Scandinavian mythology and the runic alphabet. Their music gained wide recognition due to its use in the soundtrack of the TV series Vikings.

Heilung is a musical collective whose members come from Denmark, Germany and Norway. They describe their style as "an enhanced history from the early medieval Northern Europe." The band uses reconstructed ancient instruments, texts in ancient languages ​​and elements of shamanic practices.

Danheim is a Danish music project that creates atmospheric music inspired by the Viking Age. The compositions use both reconstructed ancient instruments and modern electronic elements.

Viking and Scandinavian mythology themes have become popular in various genres of modern music, especially metal. As early as the 1970s, elements of Scandinavian mythology appeared in the works of bands such as Led Zeppelin and Black Sabbath.

In the 1980s, American heavy metal band Manowar began dedicating entire albums to Norse mythology. Their musical style, characterized by a mid-tempo, "viscous" sound and choral backing vocals, foreshadowed the emergence of the "Viking metal" genre.

The Swedish band Heavy Load with the songs "Son of Northern Light" (1978) and "Stronger Than Evil" (1983) and the American band Legend with the album "From the Fjords" (1979) are considered pioneers of metal music with a Viking theme.

In the 1990s and 2000s, a separate subgenre of metal music emerged — “Viking metal,” represented by bands such as Bathory, Enslaved, Amon Amarth, Týr, and others. These bands use Scandinavian mythology, historical stories from the Viking Age, and elements of traditional Scandinavian music in their work.

The Influence of Viking Music on World Culture

Viking musical traditions have had a significant influence on the development of folk music in Scandinavia and other regions, and continue to inspire modern musicians and composers.

Heritage in Scandinavian Folk Music

Many elements of the Viking musical culture have been preserved in the folk music of the Scandinavian countries. Instruments, melodic and rhythmic patterns, and performance techniques have evolved, but have retained a connection with ancient traditions.

Modern Scandinavian folk instruments often have roots in the Viking Age. For example, the Swedish nyckelharpa (key harp), a bowed string instrument with a keyboard mechanism, is an evolution of simpler string instruments. The Norwegian hardingfele (harding fiddle), a special type of violin with additional resonant strings, may also have ties to ancient string traditions.

Song genres such as the Norwegian stev (a short improvised song) and the Swedish kullning (a special technique of shepherd’s singing) may have roots in Old Norse musical practice. The tradition of runic singing in Finland and Karelia also echoes the magical chants of the Vikings.

Dance melodies and rhythms common in Scandinavian folk music sometimes retain archaic elements, possibly dating back to the Viking Age. For example, some polski (traditional Swedish dances) have asymmetrical rhythmic structures that may reflect ancient musical traditions.

Influence on modern music genres

Viking music and Scandinavian mythology have had a significant influence on various directions of modern music.

Folk music and folk rock often draw on Scandinavian motifs and instrumentation. Bands working in these genres adapt traditional melodies and instruments to a modern sound, creating a bridge between ancient and modern musical forms.

Metal music , especially the subgenres Viking metal and folk metal, makes heavy use of Viking themes and elements of Scandinavian music. These bands combine the heavy sound of electric guitars and drums with traditional instruments and motifs.

Neofolk and dark folk include reconstructions of ancient chants and ritual music, often with a shamanic and mystical bent. These trends seek to recreate the atmosphere of ancient rituals and mysteries.

Soundtracks for Viking-themed films and TV series often include elements of reconstructed Old Norse music. These works allow a wider audience to become acquainted with Viking musical traditions in a modern interpretation.

Research and Preservation of Viking Musical Heritage

Modern scholars, musicians and enthusiasts are making significant efforts to research, reconstruct and preserve the musical heritage of the Viking Age.

Scientific research

Archaeomusicology, an interdisciplinary field that studies musical instruments and practices of the past based on archaeological finds, plays an important role in the study of Viking music. Scientists analyze surviving instruments, their fragments, and images to reconstruct their structure, playing methods, and sound.

Philological studies of Old Norse texts — sagas, eddas, skaldic poetry — reveal references to musical practices, instruments, and contexts of music performance. Analysis of the metrics of skaldic poetry helps to understand the rhythmic structure of Old Norse music.

Ethnomusicological studies of traditional music in Scandinavian countries reveal elements that have potentially survived from the Viking Age. Comparative analysis of musical traditions of various northern peoples helps to reconstruct common features of ancient musical practice.

Experimental archaeology and reconstruction

Master reenactors create replicas of Viking musical instruments using traditional technologies and materials. These experiments provide insight into the sound capabilities of ancient instruments and the techniques used to play them.

Musicians-reenactors experiment with different performance methods based on historical sources and ethnographic parallels. They strive to recreate the authentic sound of ancient Norse music, while recognizing the hypothetical nature of such reconstructions.

Historical reenactment festivals and themed music events promote Viking music and exchange experiences between researchers and performers. Such events allow the general public to become acquainted with reconstructed music from the Viking Age and contribute to the preservation of this cultural heritage.

Viking musical traditions are a rich and diverse cultural phenomenon that reflects the worldview, beliefs, and way of life of the northern peoples of the early Middle Ages. Despite the limitations of historical sources, modern research and reconstructions allow us to come closer to understanding the sound world of the ancient Scandinavians.

Music accompanied the Vikings in all aspects of their lives, from everyday activities to religious rituals and military campaigns. A variety of musical instruments – wind, string, percussion – and a rich song tradition created a unique musical culture, elements of which have been preserved in the folklore of the Scandinavian countries and continue to inspire modern musicians.