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Journal articles on the topic 'Musical nationalism'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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’.

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Baia, Silvano Fernandes. "“Professor, você não tem orgulho de ser brasileiro?”: a música do Brasil no fim do século XIX e início do século XX." ouvirOUver 13, no. 1 (May 25, 2017): 202. http://dx.doi.org/10.14393/ouv20-v13n1a2017-15.

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Este texto apresenta a transcrição adaptada para artigo de uma palestra proferida a alunos do curso de Música da Universidade Federal de Uberlândia. A palestra expôs uma visão panorâmica da música no Brasil do fim do século XIX às primeiras décadas do século XX, em especial nas cidades do Rio de Janeiro e São Paulo. O artigo identifica quatro vertentes composicionais, abrangendo desde uma linha mais afinada ao romantismo europeu até os compositores/intérpretes populares não letrados musicalmente que começaram a registrar suas invenções após a chegada da gravação mecânica ao Brasil, em 1902. Também localiza os primórdios do nacionalismo na música erudita brasileira, situa o surgimento da corrente do nacionalismo musical no fim dos anos 1920 como uma escola composicional que foi hegemônica até meados dos anos 1960, além de observar a relação dos músicos com o Estado a partir da ditadura de Getúlio Vargas. Enfim, analisa o caráter autoritário do projeto do nacionalismo musical para concluir com a observação de seu aspecto conservador ao cumprir um papel de resistência às técnicas composicionais surgidas na primeira metade do século XX. ABSTRACT This text presents a transcription adapted for paper of a lecture for Music college students at Federal University of Uberlândia. The lecture presented a panoramic view of the music in Brazil between the late 19th Century and the first decades of the 20th Century, especially in the cities of Rio de Janeiro e São Paulo. Four major compositional lines are identified, ranging from those more aligned with European romanticism up until the composers/performers who are musically non-literate, whose inventions started being registered only after the arrival of mechanical recording in Brazil in 1902. The study herein indicates the beginnings of nationalism in Brazilian classical music and the emergence of the stream of musical nationalism in the late 1920's, as a compositional school that was hegemonic until the mid-1960's. It also takes into account the relation between musicians and the State of former president Getúlio Vargas’s dictatorship. It analyses the authoritarian character of the nationalist musical project and in conclusion, refers to its conservative aspect, seeing that it played a role of resistance to new compositional techniques that emerged in the first half of the twentieth century. KEYWORDS Brazilian music; Musical nationalism; History of Brazilian Music

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12

Tischler, Barbara L., and Alan Howard Levy. "Musical Nationalism: American Composer's Search for Identity." American Music 4, no. 1 (1986): 108. http://dx.doi.org/10.2307/3052189.

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13

Kale-Lostuvali, Elif. "Varieties of musical nationalism in Soviet Uzbekistan." Central Asian Survey 26, no. 4 (December 2007): 539–58. http://dx.doi.org/10.1080/02634930802018430.

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14

Covell, Roger. "European musical nationalism in a colonial context." History of European Ideas 16, no. 4-6 (January 1993): 691–95. http://dx.doi.org/10.1016/0191-6599(93)90207-7.

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15

Strzemżalska, Aneta. "Slam in the Name of Country: Nationalism in Contemporary Azerbaijani Meykhana." Slavic Review 79, no. 2 (2020): 323–44. http://dx.doi.org/10.1017/slr.2020.86.

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Meykhana is spoken word improvisation, verbal recitatives, and a kind of entertainment that in the last two decades has largely spread across Azerbaijan. Contemporary meykhana, although it retains its characteristic rhythm, increasingly resembles popular songs rather than classical Middle Eastern poetry, and is now often being sung, not read. Thus, in its form and function, it has become an element of mass popular culture. At the same time, meykhana is increasingly considered to be one of the national symbols on a par with other traditional musical genres such as mugham and ashig art. Meykhana's contemporary dual nature, which is understood differently by different constituencies within the Azerbaijani population, with their own politicized agenda, is inherently nationalist in nature. Using such aspects of nationalism as ethnicity, tradition, modernization, and folkloricization I analyze different levels of meykhana and the various actors involved in its implementation. This paper contributes a case study to the rich body of literature on nationalism in musical performances by analyzing the ways in which identities are constructed and mobilized.

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Filler, Susan. "Jewish nationalism in opera." Studia Musicologica 52, no. 1-4 (March 1, 2011): 499–506. http://dx.doi.org/10.1556/smus.52.2011.1-4.34.

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From the late nineteenth to the early twentieth century, the Jewish communities of Eastern Europe supported the development of musical theater in Yiddish. Given the difficulties of life in the shtetl, comprising isolation from non-Jewish neighbors, limited educational opportunities, poverty and political oppression, Yiddish opera functioned as a statement of Jewish nationalism. In this paper, I will discuss the historical conditions under which it was presented, including the following factors: effect of folk music styles documented in the field research of ethnomusicologists in Eastern Europe; topicality of subject matter in Yiddish opera as definition of the growing Jewish nationalist political movement; and identity and background of important composers and performers of the genre, and the effect of emigration to the United States on the style and content of their work.

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17

NIELSEN, KRISTINA F. "Forging Aztecness: Twentieth-Century Mexican Musical Nationalism in Twenty-First Century Los Angeles." Yearbook for Traditional Music 52 (November 2020): 127–46. http://dx.doi.org/10.1017/ytm.2020.18.

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Abstract (Spanish/English)Forjando el Aztecanismo: Nacionalismo Musical Mexicano del Siglo XX en el siglo XXI en Los ÁngelesHoy en día, un creciente número de músicos mexico-americanos en los Estados Unidos tocan instrumentos indígenas mesoamericanos y réplicas arqueológicas, lo que se conoce como “Música Azteca.” En este artículo, doy a conocer cómo los músicos contemporáneos de Los Ángeles, California, recurren a los legados de la investigación musical nacionalista mexicana e integran modelos antropológicos y arqueológicos aplicados. Al combinar el trabajo de campo etnográfico con el análisis histórico, sugiero que los marcos musicales y culturales que alguna vez sirvieron para unir al México pos-revolucionario han adquirido una nuevo significado para contrarrestar la desaparición del legado indígena mexicano en los Estados Unidos.Today a growing number of Mexican-American musicians in the United States perform on Indigenous Mesoamerican instruments and archaeological replicas in what is widely referred to as “Aztec music.” In this article, I explore how contemporary musicians in Los Angeles, California, draw on legacies of Mexican nationalist music research and integrate applied anthropological and archeological models. Pairing ethnographic fieldwork with historical analysis, I suggest that musical and cultural frameworks that once served to unite post-revolutionary Mexico have gained new significance in countering Mexican Indigenous erasure in the United States.

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18

Gilman, S. L. "Are Jews Musical? Historical Notes on the Question of Jewish Musical Modernism and Nationalism." Modern Judaism 28, no. 3 (September 15, 2008): 239–56. http://dx.doi.org/10.1093/mj/kjn009.

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19

Crawford, Richard. "Edward MacDowell: Musical Nationalism and an American Tone Poet." Journal of the American Musicological Society 49, no. 3 (October 1996): 528–60. http://dx.doi.org/10.1525/jams.1996.49.3.03a00050.

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20

Crawford, Richard. "Edward MacDowell: Musical Nationalism and an American Tone Poet." Journal of the American Musicological Society 49, no. 3 (1996): 528–60. http://dx.doi.org/10.2307/831771.

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After American-born, European-trained Edward MacDowell returned to the United States in 1888 and settled in Boston, he was welcomed as the composer American music had been awaiting. Enhanced by a professorship at Columbia University (1896-1904), his fame drew him into the current debate over musical nationalism. MacDowell relished the role of American composer, using national elements to approach artistic universality. "To a Wild Rose" for piano links post-Wagnerian tonality with programmatic suggestion in a style echoed by later popular songs. And "Dirge" from the Indian Suite evokes Native American experience to ground America's independent spirit in an idealized primeval past.

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21

Dasthakur, Saurav. "“World-History,” “Itihāsa,” and Memory: Rabindranath Tagore's Musical Program in the Age of Nationalism." Journal of Asian Studies 75, no. 2 (April 14, 2016): 411–32. http://dx.doi.org/10.1017/s0021911815002089.

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This essay attempts an exploration of the historical and historiographical implications of the interplay of individual, local, “national,” and global forms of memory in the music of Rabindranath Tagore. Produced at a time of crises in the Indian postcolonial subjectivity, this music offers a critique of the Eurocentric discourses of “World-history” and nationalism, by invoking alternative Indian discourses of “Itihāsa” and “samāj”. At the same time, Tagore departs from the contemporary Hindu cultural nationalist revivalist approach of the tradition of North Indian (Hindustani) classical music and subjects it to a creative regenerative endeavor by reconnecting the tradition with its original subaltern roots. Skeptical of several kinds of homogeneous impulses, this music offers an alternative idea of universalism that is as much human as a specific civilizational concept. Tagore's musical program thus offers an aesthetic blueprint of a more inclusive indigenous modernity in the subcontinent.

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22

Young, Clinton D. "The Southern Slope of Monsalvat: How Spanish Wagnerism Became Catalan." 19th-Century Music 41, no. 1 (2017): 31–47. http://dx.doi.org/10.1525/ncm.2017.41.1.31.

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This article examines the development of Wagnerism in late-nineteenth-century Spain, focusing on how it became an integral part of Catalan nationalism. The reception of Wagner's music and ideas in Spain was determined by the country's uneven economic development and the weakness of its musical and political institutions—the same weaknesses that were responsible for the rise of Catalan nationalism. Lack of a symphonic culture in Spain meant that audiences were not prepared to comprehend Wagner's complexity, but that same complexity made Wagner's ideas acceptable to Spanish reformers who saw in the composer an exemplar of the European ideas needed to fix Spanish problems. Thus, when Wagner's operas were first staged in Spain, the Teatro Real de Madrid stressed Wagner's continuity with operas of the past; however, critics and audiences engaged with the works as difficult forms of modern music. The rejection of Wagner in the Spanish capital cleared the way for his ideas to be adopted in Catalonia. A similar dynamic occurred as Spanish composers tried to meld Wagner into their attempts to build a nationalist school of opera composition. The failure of Tomás Bréton's Los amantes de Teruel and Garín cleared the way for Felip Pedrell's more successful theoretical fusion of Wagnerism and nationalism. While Pedrell's opera Els Pirineus was a failure, his explanation of how Wagner's ideals and nationalism could be fused in the treatise Por nuestra música cemented the link between Catalan culture and Wagnerism.

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23

Francesconi, Robert. "Free Jazz and black nationalism: A rhetoric of musical style." Critical Studies in Mass Communication 3, no. 1 (March 1986): 36–49. http://dx.doi.org/10.1080/15295038609366628.

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24

Hopwood, Paul. "Polite Patriotism: The Edwardian Gentleman in English Music, 1904 to 1914." Nineteenth-Century Music Review 16, no. 3 (December 4, 2018): 383–416. http://dx.doi.org/10.1017/s147940981800006x.

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In Edwardian England many of the most widely acknowledged qualities of the national character coalesced around the figure of the English gentleman. One of his defining features was his emotional restraint, his ‘stiff upper-lip’. But these were also years during which patriotic and even nationalist sentiment rose to a high tide, and there was considerable tension between the whole-hearted expression of nationalism and the restrain demanded by gentlemanly manners. This article explores this tension as it was staged and negotiated in the folk-song rhapsodies and nature portraits by Vaughan Williams, Holst, Delius and others during the years from 1904 to 1914. As a methodological basis the article adopts the notion of musical subjectivity – that is, the idea that music can offer a virtual persona with which the listener is invited to identify, and as whom he or she may participate in the musical activity. In this context it is possible to identify aspects of musical rhetoric, namely, the manners which regulate the interaction between the virtual subjectivity and the listener. Ultimately the article suggests that it is the embodiment of gentlemanly manners, every bit as much as the use of folk-song or the representation of English landscape, that accounts for the particularly English quality commonly identified in this music.

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Frolova-Walker, Marina. ""National in Form, Socialist in Content": Musical Nation-Building in the Soviet Republics." Journal of the American Musicological Society 51, no. 2 (1998): 331–71. http://dx.doi.org/10.2307/831980.

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The present article examines the Soviet project of developing national musical cultures within the Caucasian and Central Asian republics of the USSR. This undertaking effectively required the transplanting of the Russian nineteenth-century model of musical nationalism to the republics, under the guidance of composers sent from Moscow and Leningrad. The article investigates the relationship between this model and its imitations, using examples from Caucasian and Asian operas, and touching upon the connected discourses of orientalism and socialist realism.

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26

Hart, B. "Review: Musical Constructions of Nationalism: Essays on the History and Ideology of European Musical Culture 1800-1945." Music and Letters 84, no. 2 (May 1, 2003): 309–13. http://dx.doi.org/10.1093/ml/84.2.309.

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Brincker, Benedikte, and Jens Brincker. "Musical constructions of nationalism: a comparative study of Bartok and Stravinsky." Nations and Nationalism 10, no. 4 (October 2004): 579–97. http://dx.doi.org/10.1111/j.1354-5078.2004.00183.x.

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Kreitner, Kenneth. "Robert Paul Kolt,Robert Ward'sThe Crucible: Creating an American Musical Nationalism." Journal of Musicological Research 29, no. 4 (October 27, 2010): 353–55. http://dx.doi.org/10.1080/01411896.2010.514818.

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Pacun, David. "Nationalism and Musical Style in Interwar Yōgaku: A Reappraisal." Asian Music 43, no. 2 (2012): 3–46. http://dx.doi.org/10.1353/amu.2012.0021.

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Rafael Lamas. "On Music and Nation: The Colonized Consciousness of Spanish Musical Nationalism." Arizona Journal of Hispanic Cultural Studies 7, no. 1 (2003): 75–82. http://dx.doi.org/10.1353/hcs.2011.0181.

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31

Mosusova, Nadežda. "Nationalism as an aesthetic category in Slavonic and Balkan musical cultures." History of European Ideas 16, no. 4-6 (January 1993): 709–12. http://dx.doi.org/10.1016/0191-6599(93)90211-8.

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32

Fuentes, Pamela J. "Música Típica: Cumbia and the Rise of Musical Nationalism in Panama." Hispanic American Historical Review 102, no. 1 (February 1, 2022): 168–70. http://dx.doi.org/10.1215/00182168-9497512.

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GEROLAMO, ISMAEL DE OLIVEIRA. "Cultura popular e nacionalismo musical: uma discussão das ideias folcloristas sobre a música popular no Brasil * Popular culture and musical nationalism: a discussion of folklorists ideas about popular music in Brazil." História e Cultura 2, no. 2 (February 3, 2014): 289. http://dx.doi.org/10.18223/hiscult.v2i2.855.

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<p><strong>Resumo:</strong> Neste trabalho discutimos como a noção de cultura popular torna-se elemento central para os debates em torno do nacionalismo nas esferas cultural e artística. Exploraremos, mais especificamente, as ideias de Mário de Andrade sobre o nacionalismo musical, tendo em vista a importância dessas ideias e suas possíveis ressonâncias nas discussões acerca da música popular no Brasil durante o século XX. A busca por uma “essência do povo” que constituiria a base de uma nação é ponto de referência para esse debate. Essas ideias, surgidas na Europa, ainda no século XIX, ligadas ao movimento romântico e a atuação dos folcloristas, ganham força no Brasil principalmente a partir do século XX e irão permear inúmeros debates em momentos distintos da história republicana do país.</p><p><strong>Palavras-chave:</strong> Nacionalismo Musical – Mário de Andrade – Música Popular.</p><p> </p><p><strong>Abstract:</strong> In this paper, we discuss how the idea of popular culture becomes central to debates about nationalism in culture and art. We will explore more specifically the ideas of Mário de Andrade on musical nationalism, regarding the importance of these ideas and their possible resonances in discussions of popular music in Brazil during the twentieth century. The search for a "people's essence" that form the basis of a nation is in the core of this debate. These ideas emerged in Europe in the nineteenth century and are connected to the Romantic movement and actions of folklorists and will bulk in Brazil mostly from the twentieth century, when they will be part of numerous debates in distinguished moments in the country’s history.</p><p><strong>Keywords:</strong> Musical Nationalism – Mário de Andrade – Popular Music.</p>

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Leonard, Karen. "Sandhya Shukla. India Abroad: Diasporic Cultures of Postwar America and England. Princeton, N.J.: Princeton University Press, 2003." Comparative Studies in Society and History 47, no. 3 (July 2005): 670–72. http://dx.doi.org/10.1017/s001041750524029x.

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Sandhya Shukla has written a highly interdisciplinary comparison of Indian diasporic cultures in Britain and the United States. Specializing in Anthropology and Asian American Studies, she is particularly strong on historical and literary text analysis. She says, “The relational aspects of a range of texts and experiences, which include historical narratives, cultural organizations, autobiography and fiction, musical performance and films, are of paramount importance in this critical ethnography” (20). Contending that the Indian diaspora confronts “a simultaneous nationalism and internationalism,” she is celebratory about India and “formations of Indianness,” and uses phrases like “amazing force” and “wildly multicultural” (17). Her exploration shows “the tremendous impulse to multiple nationality that Indianness abroad has made visible” (14) and, “the amazing persistence of Indian cultures in so many places” (22).

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Silver, Christopher. "THE SOUNDS OF NATIONALISM: MUSIC, MOROCCANISM, AND THE MAKING OF SAMY ELMAGHRIBI." International Journal of Middle East Studies 52, no. 1 (February 2020): 23–47. http://dx.doi.org/10.1017/s0020743819000941.

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AbstractSamy Elmaghribi was a mid-twentieth century Moroccan superstar. From his debut in 1948 through his professional zenith in 1956, the Jewish musician was a ubiquitous presence on radio and in concert. His popularity owed to his pioneering of modern Moroccan music and to his performance of Moroccan nationalism through song and on stage. Elmaghribi's brand of anti-colonial nationalism, however, was not that of any particular political party. Instead, he espoused what might be termed, “Moroccanism,” a territorial nationalism that placed Sultan Mohamed ben Youssef at its center. Like Elmaghribi, it enjoyed widespread support. This study demonstrates that a focus on musical culture gives voice to mainstream forms of Moroccan nationalism that have received little scholarly attention to date. It also points to the active participation of Jews in postwar MENA societies. Finally, this article reconsiders the dynamics of decolonization through study of Elmaghribi's career, which spanned colony and independent nation.

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Archer, Rory. "Assessing Turbofolk Controversies: Popular Music between the Nation and the Balkans." Southeastern Europe 36, no. 2 (2012): 178–207. http://dx.doi.org/10.1163/187633312x642103.

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This article explores controversies provoked by the Serbian pop-folk musical style “turbofolk” which emerged in the 1990s. Turbofolk has been accused of being a lever of the Milošević regime – an inherently nationalist cultural phenomenon which developed due to the specific socio-political conditions of Serbia in the 1990s. In addition to criticism of turbofolk on the basis of nationalism and war-mongering, it is commonly claimed to be “trash,” “banal,” “pornographic,” “(semi-)rural,” “oriental” and “Balkan.” In order to better understand the socio-political dimensions of this phenomenon, I consider other Yugoslav musical styles which predate turbofolk and make reference to pop-folk musical controversies in other Balkan states to help inform upon the issues at stake with regard to turbofolk. I argue that rather than being understood as a singular phenomena specific to Serbia under Milošević, turbofolk can be understood as a Serbian manifestation of a Balkan-wide post-socialist trend. Balkan pop-folk styles can be understood as occupying a liminal space – an Ottoman cultural legacy – located between (and often in conflict with) the imagined political poles of liberal pro-European and conservative nationalist orientations. Understanding turbofolk as a value category imbued with symbolic meaning rather than a clear cut musical genre, I link discussions of it to the wider discourse of Balkanism. Turbofolk and other pop-folk styles are commonly imagined and articulated in terms of violence, eroticism, barbarity and otherness the Balkan stereotype promises. These pop-folk styles form a frame of reference often used as a discursive means of marginalisation or exclusion. An eastern “other” is represented locally by pop-folk performers due to oriental stylistics in their music and/or ethnic minority origins. For detractors, pop-folk styles pose a danger to the autochthonous national culture as well as the possibility of a “European” and cosmopolitan future. Correspondingly I demonstrate that such Balkan stereotypes are invoked and subverted by many turbofolk performers who positively mark alleged Balkan characteristics and negotiate and invert the meaning of “Balkan” in lyrical texts.

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Ferraz, Gabriel Augusto. "Heitor Villa-lobos and ‘Choros’ no. 3: Modernism, Nationalism, and “Musical Anthropophagy”." International Journal of the Arts in Society: Annual Review 6, no. 6 (2012): 223–46. http://dx.doi.org/10.18848/1833-1866/cgp/v06i06/36100.

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Tuohy, Sue. "The Sonic Dimensions of Nationalism in Modern China: Musical Representation and Transformation." Ethnomusicology 45, no. 1 (2001): 107. http://dx.doi.org/10.2307/852636.

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Nagode, Aleš. "Researching Music in Slovenia." Musicological Annual 56, no. 2 (December 30, 2020): 9–20. http://dx.doi.org/10.4312/mz.56.2.9-20.

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The article observes distortions of the historiographical narrative about the musical culture of Slovenia in the past, caused by specific circumstances of the formation of the Slovenian nation and the dominance of nationalism. It also outlines the strategies applied by Slovenian musicology since the second half of the twentieth century to escape the grip of nationalistic ideology.

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Hutchinson, Sydney. "Típico, folklóricoorpopular? Musical categories, place, and identity in a transnational listening community." Popular Music 30, no. 2 (May 2011): 245–62. http://dx.doi.org/10.1017/s0261143011000055.

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AbstractThe study of popular music often loses something in translation. The musical categories used by scholars and musicians in different locations vary widely in meaning, complicating both analysis and disciplinary divisions. Genre classifications also create blind spots which leave styles falling between the cracks out of the picture, impoverishing analysis and even denying musicians certain benefits. This paper examines the use of terms such asfolklórico, tradicional, popularandtípicoby both lay people and scholars in Latin America, then turns to Dominicanmerengue típicoas a case study showing how musical categories are often intensely local. I argue that – because it relies more on notions of place than on the ideas of time, class, race or production that inform other categorisations – the concept oftípicois useful in examining transnational ‘roots’ musics which bridge nations, classes and modes of production. In addition, using musicians' and listeners' own categories can help us to question the canons of musical scholarship, musical nationalism and music marketing, thus creating new possibilities for both scholars and musicians.

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Ignatidou, Artemis. "Where Music Resides: Educational and Artistic Institutions, Nationalism, and Musical Debates in Nineteenth-Century Athens." European History Quarterly 51, no. 2 (April 2021): 143–69. http://dx.doi.org/10.1177/02656914211006581.

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The article details the institutional, political and cultural conditions in nineteenth-century Athens, in relation to the reception and development of Western opera and Greek ecclesiastical music. Through the examination of important institutions such as the Theatre of Athens and the University of Athens, the article compares the popularity of Italian opera with the underdevelopment of institutions for education in church music, it analyses the impact of limited musical education in the country, and explains how the absence of musical policy –either for Western music or the Greek-Orthodox chant – resulted in music turning into a token of local cultural resistance against Western European influence.

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Al-Taee, Nasser. "Voices of peace and the legacy of reconciliation: popular music, nationalism, and the quest for peace in the Middle East." Popular Music 21, no. 1 (January 2002): 41–61. http://dx.doi.org/10.1017/s0261143002002039.

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This article explores political, cultural and musical issues surrounding the dispute between Palestinians and Israelis, particularly over Jerusalem, which each party uses to symbolise and promote their own perception of the conflict. Specifically, I examine selected popular musical landmarks that capture the essence of the struggle from the ultra-nationalistic tones of the 1960s and 1970s to the more reconciliatory ones in the 1990s advocating peace. Special attention is given to musical cooperation between Israeli and Palestinian singers who played a strong role in the promotion of peace within a utopian dream of coexistence between Arabs and Jews.

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Sakallieros, Giorgos. "Diverging from an established Greek musical nationalism: Aspects of modernism in the works of Dimitri Mitropoulos, Nikos Skalkottas, Dimitrios Levidis and Harilaos Perpessas, during the 1920s and 30s." Muzikologija, no. 12 (2012): 183–206. http://dx.doi.org/10.2298/muz111211009s.

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The presence of many young talented composers outside Greece, studying in prominent European music centres during the 1920s and 30s, set them free from the ideological compulsions of Greek musical nationalism prevailing in Athenian musical life during the first decades of the 20th century. The creative approach and adoption of aspects of musical modernism, having been established around the same period in western music, are subsequently commented upon in the works, style and ideology of four different Greek composers: the pioneer of atonality and twelve-note technique in Greece, Dimitri Mitropoulos (1896-1960); the innovator and descendant of the Second Viennese School, Nikos Skalkottas (1904-1949); the ardent supporter of timbral innovation into new instruments and ensembles, Dimitrios Levidis (1886-1951); and, finally, the ascetical and secluded Harilaos Perpessas (1907-1995), another pupil of Schoenberg in Berlin.

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Cairns, Zachary. "Music for Prague 1968: A display of Czech nationalism from America." Studia Musicologica 56, no. 4 (December 2015): 443–58. http://dx.doi.org/10.1556/6.2015.56.4.11.

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As an overt response to the Soviet bloc invasion of Czechoslovakia, Karel Husa’s Music for Prague 1968 makes an obvious nationalistic statement. In his foreword to the published score, Husa describes Prague’s use of the Hussite war song “Ktož jsú boží bojovníc” as its most important unifying motive. He says this song has long been “a symbol of resistance and hope.” The author does not debate the work’s nationalistic intent, he finds remarkable that, in 1968, Husa was an American citizen, teaching at Cornell, and using compositional techniques not frequently associated with Eastern European nationalism. If musical nationalism (expressed by folkloric elements) in Eastern European countries can be used to express primacy over avantgarde music, Music for Prague 1968 presents the opposite — a traditional war song submersed in an entirely Western European/American musical language. The study examines several portions of the composition to demonstrate the ways in which Husa expresses his nationalism in a non-nationalistic manner, including chromatic transformations of the Hussite song; the integrally serial third movement, in which unpitched percussion instruments are intended to represent the church bells of Prague; and the opening movement’s non-tonal bird calls, intended to represent freedom. Furthermore, Music for Prague 1968 uses a Western avant-garde language in a way that Husa’s other overtly nationalistic post-emigration pieces (Twelve Moravian Songs, Eight Czech Duets, Evocations of Slovakia) do not. In this light, it will be seen that Music for Prague 1968 fills a special role in Husa’s nationalistic display.

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Povilionienê, Rima. "References to Lithuanian musical life in Lithuanian periodicals, 1914-1915: A review of the 'Lithuanian News' daily." New Sound, no. 44-2 (2014): 68–95. http://dx.doi.org/10.5937/newso1444068p.

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During the initial wartime years, the music life in Lithuania was slowed down first of all by the prevailing mood. On the other hand, Lithuanian evenings that were held at that time (their programmes usually consisted of one or two plays/performances and a musical part - a choir concert) acquired the role of fostering and promoting nationalism. The Lithuanian press often carried items about local choirs in various parts of the country (most often formed and led by the local organist). Systemised information in the years 1914 and 1915 is presented in the article: how musical life in Lithuania was covered in one of the main Lithuanian newspapers published in Vilnius - Lithuanian News.

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Lyudmila Gauk. "Musical Nationalism in Russians’ View: Based on Vladimir Stasov’s and Arthur Lourie’s Writings." journal of Ewha Music Research Institute 21, no. 3 (September 2017): 91–116. http://dx.doi.org/10.17254/jemri.2017.21.3.003.

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Dudley, Shannon. "The Steelband "Own Tune": Nationalism, Festivity, and Musical Strategies in Trinidad's Panorama Competition." Black Music Research Journal 22, no. 1 (2002): 13. http://dx.doi.org/10.2307/1519963.

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GIBBONS, WILLIAM. "The Musical Audubon: Ornithology and Nationalism in the Symphonies of Anthony Philip Heinrich." Journal of the Society for American Music 3, no. 4 (October 15, 2009): 465–91. http://dx.doi.org/10.1017/s175219630999068x.

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AbstractAnthony Philip Heinrich's two symphonies on avian themes— The Ornithological Combat of Kings, or The Condor of the Andes and the Eagle of the Cordilleras (original version ca. 1835; final form 1857) and The Columbiad, or Migration of American Wild Passenger Pigeons (ca. 1857)—have not been generally considered among his nationalistic works. Placing these works into historical context, however, makes the nationalism of their programmatic content clear. These symphonies reveal surprising connections in the U.S. consciousness between birds and national identity in the nineteenth-century United States. Through the examination of this music in the contexts of naturalist writers such as Alexander von Humboldt, Alexander Wilson, and John James Audubon, the last of whom was a close friend of Heinrich's, this article demonstrates the extent to which Heinrich's music tapped into the popularity of ornithology in the United States.

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Gillies, Malcolm. "Percy Grainger: How American was He?" Nineteenth-Century Music Review 16, no. 01 (June 8, 2018): 9–26. http://dx.doi.org/10.1017/s1479409817000568.

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The national affiliation of composer-pianist Percy Grainger (1882–1961) is a complex matter. While often claimed today to have been Australian or American, he was a ‘naturally born British subject’ for the first 36 years of his life. Thereafter, he was a naturalized American. Drawing on Grainger’s letters, essays, scores and memorabilia, this article investigates the reasons behind Grainger’s adoption of American citizenship during the final months of the First World War, and the subsequent national traits within his manner of living as well as his social attitudes, musical approach and style. His contributions to instrumentation, scoring and texture, as well as to music education, are seen from this analysis to have strong American traits, and subsequent influence, while his compositional style remained essentially English, although built upon a technical base established while a teenage student in Germany.In later life, Grainger was ambivalent about remaining an American citizen and resident, not just because of an implied disloyalty to his ‘native land’, Australia, but also because of his lack of empathy with evolving American values. To a Yale University audience in 1921, he confessed to being ‘a cosmopolitan from first to last’. This article analyses Grainger’s thinking about cosmopolitanism, nationalism and universalism in the following decades, against the backdrop of his growing commitment to the racialist, later racist, cause of Nordicism. It focuses particularly upon Grainger’s series of articles about ‘Grieg: Nationalist and Cosmopolitan’ from 1943, before investigating the relationship between racial and national thinking in Grainger’s final years. This culminates in his last statement of musical ‘creed’, published in a Norwegian magazine in 1955: musically to support the ‘unity’ of the Nordic race, and to bring ‘honor and fame’ to his native land, Australia. Yet, Grainger died, in 1961, in America, and still an American citizen.

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Gibson, Dylan Lawrence. "The impact of the fostering of European industry and Victorian national feeling on African music knowledge systems: Considering possible positive implications." Journal of European Popular Culture 10, no. 2 (October 1, 2019): 97–108. http://dx.doi.org/10.1386/jepc_00003_1.

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The European (Victorian) missionary influence on traditional African music in South Africa is largely seen in a negative light and not much focus is placed on possible positive implications. This article therefore serves to explore how external European influences, harnessed by some African musicians, partially aided in preserving and generating conceivably ‘new’ Euro-African hybrid traditional music genres – while at the same time preserving some fragmented forms of indigenous music knowledge for future generations. In general, the ultimate aim for the European missionaries was to allow Africans to, in effect, colonize ‘themselves’ by using their influence of Victorian (British nationalist) religion, education, technology, music and language as a means to socially ‘improve’ and ‘tame’ the ‘wild’ Africans. However, specifically with reference to music, African composers and arrangers – despite this colonizing influence – occasionally retained a musical ‘uniqueness’. John Knox Bokwe, an important figure in what can be termed the ‘Black Intellect’ movement, displays this sense of African musical uniqueness. His arrangement of ‘Ntsikana’s Bell’, preserved for future generations in the Victorian style of notation (or a version thereof), best illustrates the remnants of a popular cultural African indigenous musical quality that has been combined with the European cultural tonic sol-fa influence. Furthermore, the establishment of the popular cultural ‘Cape coloured voices’ also serves to illustrate one dimension of the positive implications that the fostering of European industry (industrialized developments) and Victorian national feeling/nationalism left behind. This is largely because this choral genre can be termed as a distinctly ‘new’ African style that contains missionary influence but that still retains an exclusive African quality.

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