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National stereotypes and music
Music became a marker of national identity in nineteenth‐century Europe. Western art music consists of tonal systems that are universally intelligible, but certain rhythms and musical idioms have been associated with national styles. How, when, and why does a musical phrase or piece become national?...
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Published in: | Nations and nationalism 2014-10, Vol.20 (4), p.628-645 |
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container_title | Nations and nationalism |
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creator | Lajosi, Krisztina |
description | Music became a marker of national identity in nineteenth‐century Europe. Western art music consists of tonal systems that are universally intelligible, but certain rhythms and musical idioms have been associated with national styles. How, when, and why does a musical phrase or piece become national? What political and cultural circumstances contributed to the development of national styles and facilitated the emergence of resonant topographies? What was the relationship between music as cultural practice and nineteenth‐century national thought as discursive space? These questions are addressed with a particular focus on verbunkos, which came to be characteristic of Hungarian national style, and on the Rákóczy March which became famous thanks to Berlioz's Faust. This essay traces the complex process of cultural transfer through which these martial tunes of mixed ethnic origins have become emblematic of Hungarian music. |
doi_str_mv | 10.1111/nana.12086 |
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source | International Bibliography of the Social Sciences (IBSS); Wiley; Worldwide Political Science Abstracts; Sociological Abstracts |
subjects | 19th century Classical music Cultural practices cultural transfer Economic Development Europe European history Hungary Idioms Music nation-building National Identity national style Nationalism Political science Stereotypes Topography verbunkos |
title | National stereotypes and music |
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