Log in

Relevant bibliographies by topics / Musical nationalism

Contents

Journal articles
Dissertations / Theses
Books
Book chapters
Conference papers
Reports

Academic literature on the topic 'Musical nationalism'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Musical nationalism.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Musical nationalism"

1

KIBLER, M. ALISON. "Pigs, Green Whiskers, and Drunken Widows: Irish Nationalists and the “Practical Censorship” of McFadden's Row of Flats in 1902 and 1903." Journal of American Studies 42, no. 3 (December 2008): 489–514. http://dx.doi.org/10.1017/s0021875808005549.

Full text

Abstract:

Radical Irish nationalists attacked a musical farce, McFadden's Row of Flats, in 1902 and 1903, because of the green whiskers on the Irishman, the pigs in the Irish household, and the drunken, lascivious Irishwoman on stage. This play had been produced in Philadelphia, an Irish nationalist stronghold, for five years before Irish nationalists decided to stop the performances with direct confrontations in the theater. The timing of this decision and the style of the protest were based on competition among Irish nationalists, particularly the resurgence of Irish ethnocentrism and physical-force nationalism.

APA, Harvard, Vancouver, ISO, and other styles

2

Caballero, Carlo. "Patriotism or Nationalism? Fauré and the Great War." Journal of the American Musicological Society 52, no. 3 (1999): 593–625. http://dx.doi.org/10.2307/831793.

Full text

Abstract:

Even though Gabriel Fauré's contemporaries championed his music as quintessentially French, Fauré distanced himself from policies of national exclusion in art, and his own construction of French musical style was cosmopolitan. This essay summarizes Fauré's political choices during the Great War, explains his motives, and indicates how some of his decisions affected French musical life. Fauré's outspoken preface to Georges Jean-Aubry's La Musique française d'aujourd'hui provides one key to the composer's position. Jean-Aubry, following Debussy, reckoned as authentically French only musical styles attached to pre-Revolutionary traditions. Fauré felt that such a narrow characterization of French music falsified the diversity of the historical record. His preface therefore takes issue with Jean-Aubry's book and insists that German composers had played an irrefutable role in the formation of modern French music. We may understand Fauré's-and other composers'-wartime decisions in terms of a distinction between patriotism and nationalism. Composers such as Fauré, Bruneau, and Ravel emerge as patriots. Debussy, who sought to purify French music of foreign contamination, emerges as a nationalist. Both nationalism and patriotism call on collective memory and experience, but nationalism exercises its power protectively and tends toward exclusion, while patriotism, favoring political over ethnic determination, tends toward inclusion. Fauré's patriotism emerges through the evidence of the preface; charitable activities; his refusal to sign a French declaration calling for a ban on contemporary German and Austrian music; and his attempt to unite the Société Nationale and the Société Musicale Indépendante. Fauré's wartime music, in contrast to his writings and activities, evades connections with historical events and raises methodological questions about perceived relations between political belief and artistic expression.

APA, Harvard, Vancouver, ISO, and other styles

3

HANSON, MICHAEL. "Suppose James Brown read Fanon: the Black Arts Movement, cultural nationalism and the failure of popular musical praxis." Popular Music 27, no. 3 (October 2008): 341–65. http://dx.doi.org/10.1017/s0261143008102173.

Full text

Abstract:

AbstractIn the late 1960s and early 1970s, the articulation of politics and sound became explicitly marked during the civil rights transition to embryonic types of racial nationalism, black power and the novel forms of ‘citizenship’ implied therein. Music mediated and registered these critical shifts in political outlook, structural change and black collectivity. Yet, despite the power of black soundings to communicate or gesture toward a particular political sensibility, black popular music in particular remained elusive to those political workers most invested in identifying the articulations of popular sound aesthetics and the masses. Popular music, and soul culture more generally, frustrated nationalist efforts at enlisting the black masses, a failure that paradoxically reflected black nationalism’s inability to appeal to and enlist the political potential of the mass black public that it so valorised. %This article explores the political-aesthetic interface particularly as it played out in the relationship between cultural nationalism and black popular music. This relationship offers a powerful index of the correspondence and dissonance between the political intentions of nationalist political workers and the political desires of the urban masses. It is argued that both the formal attempts at producing revolutionary cultural products and the broader influence and reception that black nationalist politics had within the field of black popular culture were in significant ways less communicative of collective political will and desire than emergent popular musical formations.

APA, Harvard, Vancouver, ISO, and other styles

4

Love, Timothy M. "Irish Nationalism, Print Culture and the Spirit of the Nation." Nineteenth-Century Music Review 15, no. 2 (February 7, 2017): 189–208. http://dx.doi.org/10.1017/s1479409817000015.

Full text

Abstract:

Recent investigations into the survival and dissemination of traditional songs have elucidated the intertwining relationship between print and oral song traditions. Musical repertories once considered distinct, namely broadside ballads and traditional songs, now appear to have inhabited a shared space. Much scholarly attention has been focused on the print and oral interface that occurred in eighteenth- and nineteenth-century Britain.Less attention has been paid, however, to music in Ireland where similar economic, cultural and musical forces prevailed. Yet, Ireland’s engagement in various nationalist activities throughout the nineteenth century added a distinctly political twist to Ireland’s print–oral relationship. Songbooks, a tool for many nineteenth-century nationalist movements, often embodied the confluence of print and oral song traditions. Lacking musical notation, many songbooks were dependent on oral traditions such as communal singing to transmit their contents; success also depended on the large-scale distribution networks of booksellers and ballad hawkers. This article seeks to explore further the print–oral interface within the context of Irish nationalism. Specifically, I will examine how one particular movement, Young Ireland, manifested this interface within their songbook, Spirit of the Nation. By examining the production, contents, and ideology of this songbook, the complex connections between literature, orality and nationalism emerge.

APA, Harvard, Vancouver, ISO, and other styles

5

Otte, Andreas. "Nuuk underground: musical change and cosmopolitan nationalism in Greenland." Popular Music 34, no. 1 (December 19, 2014): 113–33. http://dx.doi.org/10.1017/s0261143014000713.

Full text

Abstract:

AbstractIn Nuuk, the capital of Greenland, there have been a significant number of musical events in recent years that have been called ‘underground’. These have formed an underground scene that offered a cosmopolitan alternative to established ‘greenlandificated’ popular music. This paper accounts for the building of this underground scene by Nuuk youth, and asks why these young people valued musical change informed by a cosmopolitan outlook, while at the same time holding firmly to the conviction that their activities were a part of the dominant Greenlandic nation-building project. Social agents, which played key roles in building the Nuuk underground scene, described their activities as attempts to come to terms with a history in which Greenland has been perceived as a subaltern nation. This enquiry explains the nationalist logic behind a concern with performing similarity with Western nations in the Nuuk underground scene, as opposed to the more widespread romantic nationalist logic concerned with expressing a distinguishable national character. This further leads to an expansion of a position of cosmopolitan nationalism.

APA, Harvard, Vancouver, ISO, and other styles

6

Rice, Paul F. "Musical Nationalism and the Vauxhall Gardens." Lumen: Selected Proceedings from the Canadian Society for Eighteenth-Century Studies 19 (2000): 69. http://dx.doi.org/10.7202/1012316ar.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Bellaviti, Sean. "Panamanian Musical Nationalism: A Critical Historiography." Latin American Music Review 39, no. 1 (June 2018): 89–121. http://dx.doi.org/10.7560/lamr39104.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Perman, Tony. "Muchongoyo and Mugabeism in Zimbabwe." African Studies Review 60, no. 1 (March 6, 2017): 145–70. http://dx.doi.org/10.1017/asr.2017.4.

Full text

Abstract:

Abstract:This article explores the influence of nationalism and modernity in contemporary Zimbabwe and on the musical lives of Zimbabweans through an examination ofmuchongoyo, the signature dance–drumming tradition of Zimbabwe’s Ndau communities. Invoking the concept of “Mugabeism,” it illustrates how Shona nationalism and expectations of modernity have partially reshapedmuchongoyoin the turmoil of contemporary Zimbabwe. As indigenous practices serve political ends, their values shift. Consequently, there are now twomuchongoyos: one rooted in the unique history and values of Zimbabwe’s Ndau community, the other emerging from decades of political employment of indigenous music for the sake of nationalist discourse.

APA, Harvard, Vancouver, ISO, and other styles

9

Wade, Peter. "Music, blackness and national identity: three moments in Colombian history." Popular Music 17, no. 1 (January 1998): 1–19. http://dx.doi.org/10.1017/s0261143000000465.

Full text

Abstract:

The study of music and national identity has been limited, in my view, by some underlying assumptions. The first is connected to some influential ideas on nationalism, while the second has to do with long-standing ideas about the relation between music and identity. On nationalism, many approaches place too much emphasis on the homogenising tendencies of nationalist discourse, whereas, in my view, homogenisation exists in a complex and ambivalent relationship with the construction of difference by the same nationalist forces that create homogeneity. In a related fashion, with respect to music and identity, several studies of Latin American musical styles and their socio-political context – for example, ones focusing on the Dominican Republic, Haiti and Brazil – display a tendency to set up a model of homogenising elites versus diversifying and resistant minorities.

APA, Harvard, Vancouver, ISO, and other styles

10

Żuk, Piotr, and Paweł Żuk. "The Independence Day as a nationalist ritual: Framework of the March of Independence in Poland." Ethnography 23, no. 1 (March 2022): 14–37. http://dx.doi.org/10.1177/14661381211073406.

Full text

Abstract:

The article contains a cultural analysis of the March of Independence as a symbol of nationalist revival in Poland. The authors analyse the social context of this event, show its history and, inspired by Goffman’s classic approach, describe the theatrical setting of this annual event – its scenography, props, musical setting and costumes (‘patriotic clothing’). In addition to participant observation, the authors analyse materials posted by the organisers of the March of Independence on the YouTube channel. The article presents historical and cultural patterns used by contemporary Polish nationalists – primarily symbols, messages and ideology of nationalists from the interwar period (1918–1939). According to the authors, events such as the March of Independence are a manifestation of local discourse over Western modernisation. The neoliberal order in Eastern Europe cannot do without the help of nationalism – losers of the neoliberal transformation have become the main basis for the ‘national awakening’.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Musical nationalism"

1

Grimley, Daniel MacGregor. "Nielsen, nationalism and Danish musical style." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343036.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Stemmermann, Nell. "Church's Musical Visitor, 1871-1897: Class, Nationalism, and Musical Taste." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1407404428.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Hernandez, Juan de Dios. "NATIONALISM AND MUSICAL ARCHITECTURE IN THE SYMPHONIC MUSIC OF SILVESTRE REVUELTAS." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/196046.

Full text

Abstract:

In this study I will attempt to demonstrate that stylistic and compositional features and a non-traditional approach to form in the orchestral output of composer Silvestre Revueltas contributed to the development of a nationalist school in Mexico in the twentieth century. In the paper, I present a biographical sketch of Silvestre Revueltas (1899-1940), as there is little available printed information in English concerning the life and work of this composer who is acknowledged to be one of the most significant figures in the history of music in Mexico. I also address the cultural, artistic, and philosophical influences that shaped the cultural world in Mexico in the first quarter of the twentieth century, and their influence on Revueltas and his music.The heart of the paper is an overview of certain compositional and stylistic features in the music of Silvestre Revueltas, followed by observations on structural elements in two of his symphonic works: Janitzio and AlcancÃas. The document concludes with a brief summary of the influence of Revueltas on some of the contemporary composers of his time and on the musical life in Mexico and the United States in the first half of the twentieth century. I have also included in this document a chronological list of works and a substantial list of bibliographic references.

APA, Harvard, Vancouver, ISO, and other styles

4

Parfitt, Richard. "Musical culture and the spirit of Irish nationalism, c. 1848-1972." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:623d0a08-f28d-415e-83e2-62738e216a74.

Full text

Abstract:

This thesis surveys musical culture's relationship with Irish nationalism after the Irish confederacy's rebellion in 1848 until the beginning of the Northern Irish Troubles in 1972. It is the first such study to engage with a wide range of source material, including not only songs but also sources generated by political actors and organisations. It thus asks how far music and dance contributed to political movements and identities. It demonstrates that music provided propaganda, while performances created spectacles that attracted attention and asserted the strength, territorial claims, and military credentials of particular movements. Nationalists and unionists appropriated music and musical rituals from history, Britain, and one another. Appropriated British army rituals represented paramilitaries as legitimate national armies. Recycling songs made compositions easier to learn and suggested that new organisations acted as part of a continuous, historical movement. Appropriating songs and rituals from opponents asserted superiority over those opponents. Songs marked national allegiance and were therefore fought over extensively. For theorists and revivalists, defining Irish music and dance constructed notions of Irish nationhood. However, this thesis is as much about qualifying the claims often made for musical culture. One result of the failure to engage comprehensively with extra-musical source material is that studies often crudely credit music with having inspired unity among Irishmen and resistance against the colonial ruler. Music's relationship with resistance was more nuanced, and could cultivate disunity as much as the opposite. This study also problematises distinctions between British, unionist, and nationalist culture. These were not discrete categories, but overlapping soundscapes that interacted with and penetrated one another. Nor is 'traditional' music neatly distinguished from 'modern', 'commercial' music. As this study explains, traditional music's advocates demonstrated a consistent willingness to adapt and engage with modern methods. Overall, this thesis provides unprecedented insight into music's impact on nationalist politics.

APA, Harvard, Vancouver, ISO, and other styles

5

Muller, Stephanus Jacobus van Zyl. "Sounding margins : musical representations of white South Africa." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326962.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Young, Clinton David. "Zarzuela or lyric theatre as consumer nationalism in Spain, 1874-1930 /." Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3211378.

Full text

Abstract:

Thesis (Ph. D.)--University of California, San Diego, 2006.
Title from first page of PDF file (viewed June 14, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 392-417).

APA, Harvard, Vancouver, ISO, and other styles

7

Banton, Caree. "Between Two Giant Sounds: Jamaican Politics, Nationalism, and Musical Culture in Transition, 1974-1984." ScholarWorks@UNO, 2007. http://scholarworks.uno.edu/td/508.

Full text

Abstract:

The story of Jamaican music is also one of the island's journey from independence, the rise of nationalism and changes in its political structure in the Cold War era. Reggae as a popular form, developed in the context of Jamaica's history of colonialism and slavery, as well as the island's development as an independent nation within the African Diaspora. Michael Manley's policy of democratic socialism leading to U.S. intervention to destabilize his government in the mid-1970s and the installation of the pro-American Edward Seaga, in 1980, led to considerable changes in Jamaican political culture and nationalism. Inextricable from changes in the nation's political culture, however, were changes in its popular culture, namely, the transition in popular music from reggae to what became known as "dancehall." The history of reggae and the rise of dancehall in the period from 1974 to 1984 this thesis argues, was integral to the transformation of Jamaican nationalism and politics in the decades following independence.

APA, Harvard, Vancouver, ISO, and other styles

8

de, Paulo José Roberto. "Dos mentores y un ideal: un paralelo entre el nacionalismo musical brasileño y español a partir de las propuestas estéticas de Mário de Andrade y Felip Pedrell (1880-1945)." Doctoral thesis, Universitat Autònoma de Barcelona, 2019. http://hdl.handle.net/10803/668055.

Full text

Abstract:

La presente tesis doctoral se propone a hacer un paralelo entre el nacionalismo musical brasileño y español a través de la comparación entre el pensamiento estético de Felip Pedrell y Mário de Andrade y sus propuestas para una música nacional artística. Como guía principal para nuestra investigación nos inclinamos sobre las teorías puestas en los libros-manifiestos Por Nuestra Mú-sica y Ensaio sobre a música brasileira, de Pedrell y Andrade respectivamente, que se converti-rían en un modelo de partida para los compositores interesados en crear una obra nacional. Además del estudio de los contextos históricos y estéticos de Pedrell y Andrade, en esta tesis doctoral se hizo un estudio de sus estéticas propias y de las propuestas para la música nacional de ambos países basándose en textos de autoría de ambos protagonistas. La investigación se plantea a demostrar las semejanzas y divergencias entre las propuestas es-téticas para la construcción de esta música con carácter nacional en España y Brasil elaboradas por Pedrell y Andrade. El paralelo entre la escuela nacionalista musical brasileña y la española se justifica por el hecho de que los compositores más relevantes no fueron los que elaboraron el contenido estético que permearía sus obras, sino que siguieron la orientación de un mismo men-tor. Por sus labores en pro de la música nacional y por su preocupación en señalar un lenguaje musical artístico, Pedrell y Andrade se transformarían en los mentores para sus compatriotas y compartirían un mismo ideal: construir y establecer una escuela musical nacional capaz de unir a los artistas y el público en favor de la valoración de la identidad cultural, perfeccionar y promover esta música artística autóctona para que alcanzase el respeto y la admiración para fuera de sus fronteras.
This doctoral thesis is meant to do a parallelism between the Brazilian and the Spanish musical nationalism through the comparison between the rhetorical thinking of Felip Pedrell and Mário de Andrade and their proposals for an artistic national music. As the main guide for our investigation we tend towards the theories proposed in the books-manifestos Por nuestra música y Ensaio sobre a música brasileira, of Pedrell and Andrade respectively, who would become a prototype for composers interested in creating a national work. Besides the study of the historical and esthetic contexts of Pedrell and Andrade, in this doctoral thesis we made a study of their own esthetics and the proposals for the national music from each country, based on texts written by both protagonists. This investigation contemplates to demonstrate the similarities and differences between the esthetical proposals for the construction of this music with a national character in Spain and Brazil, made by Pedrell and Andrade. The parallelism between the Spanish and Brazilian national musical school is justified by the fact that the most relevant composers were not the ones who elaborated the esthetical content that would permeate their works, but they followed the directions from the same mentor. Thanks to their labors in support of the national music and to their preoccupation for signaling an artistic musical language, Pedrell and Andrade would become mentors to their countrymen and they would share the same ideal: to build and establish a national musical school capable of uniting the artists and the public in favor of the cultural identity appreciation, perfectioning and promoting this native artistic music to reach the respect and admiration outside the country borders.

APA, Harvard, Vancouver, ISO, and other styles

9

Lynch, Kyle R. "Stylistic Change in the Music of Elie Siegmeister, 1940-1970." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_theses/305.

Full text

Abstract:

The life and career of American composer Elie Siegmeister (1909-1991) spanned most of the Twentieth century. His music provides a unique voice in classical music of the United States. With an acute awareness of social issues, Siegmeister desired for his music to communicate with audiences. His love of American folk music, blues, and jazz contributed to his distinct compositional style, first overtly with lyrical folksong-like melodies in the 1940s before becoming sublimated into a dissonant idiom by the 1960s. This thesis provides a survey of the change in Elie Siegmeister’s compositional style, specifically the years between 1940 and 1970. I provide an overview of Siegmeister’s entire compositional career in Chapter One. Chapter Two finds Siegmeister’s involvement with folk music coalescing into a lyrical and tonal style during the 1940s. With Chapter Three, I reveal pivotal events that urged Siegmeister to concentrate on form and thematic development during the 1950s. In Chapter Four I look at the 1960s as a synthesis of his past compositional styles.

APA, Harvard, Vancouver, ISO, and other styles

10

Gonçalves, Fernando Rauber. "Neoclassicismo e nacionalismo no Segundo Concerto para Piano e Orquetra de Camargo Guarnieri." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/16081.

Full text

Abstract:

Neste trabalho, analiso o Segundo Concerto para Piano e Orquestra (1946) de Camargo Guarnieri (1907-1993) tendo como pano de fundo uma contextualização sobre o nacionalismo e o neoclassicismo na obra de Guarnieri. Se, por um lado, o nacionalismo oriundo dos movimentos modernistas vinculava-se a uma proposta de "normalização dos caracteres étnicos permanentes da musicalidade brasileira" (Neves, 1981), também visava à inserção do país em um contexto mundial (Travassos, 1999), proposta refletida na adoção de uma estética musical neoclássica. Em minha análise, identifico no Segundo Concerto reflexos do ideário formado em torno desse nacionalismo e vinculações estéticas com as tendências da música produzida internacionalmente.
In this work, I present an analysis of Camargo Guarnieri's Segundo Concerto para Piano e Orquestra (1946) taking into account the manifestations of the nationalistic and neoclassical trends in the work of this composer. If, on the one hand, the nationalism steemed from Brazilian early twentieth-century modernists movements aimed to "normalize the permanent ethnical characteristics of the brazilian musicality" (Neves, 1981), on the other hand it also aspired to integrate the country in a global context (Travassos, 1999), a goal which can be detected in the influence of neoclassical aesthetics. In my analysis of the Segundo Concerto, elements which can be traced to the ideas and proposals of the nacionalismo modernista are identified, as well as aesthetical links with the international music trends.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Books on the topic "Musical nationalism"

1

Mohammed, Sharifah Faizah Syed. Musical Nationalism in Indonesia. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6950-4.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Labonville, Marie Elizabeth. Juan Bautista Plaza and musical nationalism in Venezuela. Bloomington: Indiana University Press, 2007.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Robert Ward's The crucible: Creating an American musical nationalism. Lanham, Md: Scarecrow Press, 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

Veselinović-Hofman, Mirjana. Musical folklore as a vehicle? Belgrade: Signature, 2008.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Castro, Christi-Anne. Musical renderings of the Philippine nation. New York: Oxford University Press, 2011.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Creación musical, cultura popular y construcción nacional en la España contemporánea. Madrid: ICCMU, 2010.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Musical renderings of the Philippine nation. New York: Oxford University Press, 2011.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

A cor e o som da nação: A idéia de mestiçagem na crítica musical do Caribe hispânico e do Brasil, 1928-1948. São Paulo, SP, Brasil: Annablume, 2000.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Analyzing Wagner's operas: Alfred Lorenz and German nationalist ideology. Rochester, N.Y: University of Rochester Press, 1998.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Shabazz, David L. Public Enemy number one: A research study of rap music, culture, and Black nationalism in America. Clinton, SC: Awesome Records, 1999.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "Musical nationalism"

1

Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "European Musical Nationalism." In Anthology to Accompany Gateways to Understanding Music, 190–200. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-34.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Mohammed, Sharifah Faizah Syed. "“Lukisan Tanah Air” (1985)." In Musical Nationalism in Indonesia, 125–34. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6950-4_9.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Mohammed, Sharifah Faizah Syed. "Gatekeepers, Singers, and Ansambel Gembira." In Musical Nationalism in Indonesia, 41–55. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6950-4_3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Mohammed, Sharifah Faizah Syed. "Threats to the Art World." In Musical Nationalism in Indonesia, 183–91. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6950-4_14.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Mohammed, Sharifah Faizah Syed. "Choirs and the Revolution." In Musical Nationalism in Indonesia, 159–66. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6950-4_12.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Mohammed, Sharifah Faizah Syed. "The Decline of the Genre." In Musical Nationalism in Indonesia, 57–65. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6950-4_4.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Mohammed, Sharifah Faizah Syed. "“Kisah Mawar Di Malam Hari” (1953)." In Musical Nationalism in Indonesia, 69–82. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6950-4_5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Mohammed, Sharifah Faizah Syed. "The Evolution of the Genre." In Musical Nationalism in Indonesia, 21–39. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6950-4_2.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Mohammed, Sharifah Faizah Syed. "A Reflection of the Nation." In Musical Nationalism in Indonesia, 147–58. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6950-4_11.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Mohammed, Sharifah Faizah Syed. "Reflections." In Musical Nationalism in Indonesia, 135–41. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6950-4_10.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Musical nationalism"

1

So, Inhwa. "A blend of traditional and popular musical forms: the issue of nationalism and commercialism in Korea." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.31.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Li, Hao, and Zuping Xu. "Protection and Inheritance of the Korean Nationality Music." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.133.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Ma, Ranran. "The Nationality and Integration of Vocal Music Art Development." In the 2018 International Conference. New York, New York, USA: ACM Press, 2018. http://dx.doi.org/10.1145/3230348.3230438.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Zhang, Rui, and Andrey Ivanov. "Study on the Artistic Style of Zandaren Music of Oroqen Nationality." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.051.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

"Comparative Analysis of Music Inheritance between Dai Nationality of Xishuangbanna and Northern Thailand." In 2018 2nd International Conference on Social Sciences, Arts and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/ssah.2018.140.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Shang, Pengcheng, Shan Ni, and Li Zhou. "A probabilistic and random method for the generation of Bai nationality music fragments." In 2021 IEEE 4th International Conference on Multimedia Information Processing and Retrieval (MIPR). IEEE, 2021. http://dx.doi.org/10.1109/mipr51284.2021.00057.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Zhou, Yan. "Spring Comes Every Year Current Situation of Korean Nationality Music in Liaoning Region and Its Development Idea." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.66.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Dang, Weibo. "Study on Protection and Inheritance of Expressive Arts of the Oroqen Nationality A Case of Music School of Heihe University." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.155.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Musical nationalism"

1

Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

Full text

Abstract:

The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!