Musical Nationalism - History

History

As a musical movement, nationalism emerged early in the 19th century in connection with political independence movements, and was characterized by an emphasis on national musical elements such as the use of folk songs, folk dances or rhythms, or on the adoption of nationalist subjects for operas, symphonic poems, or other forms of music (Kennedy 2006). More precise considerations of the point of origin are a matter of some dispute. One view holds that it began with the war of liberation against Napoleon, leading to a receptive atmosphere in Germany for Weber's opera Der Freischütz (1821) and, later, Richard Wagner's epic dramas based on Teutonic legends. At around the same time, Poland’s struggle for freedom from Czarist Russia produced a nationalist spirit in the piano works of Frédéric Chopin, and slightly later Italy's aspiration to independence from Austria resonated in many of the operas of Giuseppe Verdi (Machlis 1979, 125–26). According to another view, however, nationalism initially began as a reaction against the dominance of the mainstream European classical tradition (that is "German", "Italian", and "French" music) and later developed alongside the growing movements for national liberation and self-determination that characterized much of the 19th century. Countries or regions most commonly linked to musical nationalism include Russia, Czechoslovakia, Poland, Romania, Scandinavia, Spain, UK, Latin America and the United States.

It should also be noted that musical nationalism is a term often used to describe non-European 20th century music as well, in particular that originating in Latin America.

Read more about this topic:  Musical Nationalism

Famous quotes containing the word history:

    When the coherence of the parts of a stone, or even that composition of parts which renders it extended; when these familiar objects, I say, are so inexplicable, and contain circumstances so repugnant and contradictory; with what assurance can we decide concerning the origin of worlds, or trace their history from eternity to eternity?
    David Hume (1711–1776)

    There is nothing truer than myth: history, in its attempt to “realize” myth, distorts it, stops halfway; when history claims to have “succeeded” this is nothing but humbug and mystification. Everything we dream is “realizable.” Reality does not have to be: it is simply what it is.
    Eugène Ionesco (b. 1912)