By Philip V. Bohlman
Two a long time after the autumn of communism in japanese Europe and one decade into the twenty-first century, ecu track continues to be the most strong forces for shaping nationalism. utilizing extensive fieldwork all through Europe -- from participation in alpine foot pilgrimages to reports of the grandest track spectacle wherever on the planet, the Eurovision tune Contest -- Philip V. Bohlman finds the ways that song and nationalism intersect within the shaping of the hot Europe.
Focus: song, Nationalism, and the Making of the recent Europe starts off with the emergence of the ecu countryside within the heart a while and extends throughout lengthy classes within which Europe’s countries used song to compete for land and language, and to extend the colonial succeed in of Europe to the full global. Bohlman contrasts the "national" and the "nationalist" in song, analyzing the ways that their impression on society could be optimistic and unfavourable -- priceless for eu cultural coverage and hazardous in occasions whilst many eu borders are extra fragile than ever. the hot Europe of the twenty-first century is extra diverse, extra complicated, and extra politically unstable than ever, and its song resonates absolutely with those variations.
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Additional info for Focus: Music, Nationalism, and the Making of the New Europe (Focus on World Music Series)
What might it symbolize as Europe turned away from the competitive divisiveness that reduced it to parts and concentrated on an aesthetic that might undergird its wholeness? At least a few answers to those questions lie in the tale of two songs with which I conclude this ﬁrst chapter. 17 18 • Music and Nationalism 1 2 3 4 5 6 7 8 9 0 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 2 3 4 5 Attempts to create a European music have provided one of the historical subtexts of European history since the rise of modernity that began with the eighteenth-century Enlightenment.
7). They concern themselves primarily with the articulation and enforcement of principles, such as the EU requirement that member states have democratically elected governments. The history of the EU unfolds in ﬁts and starts because of the shifting inﬂuences of and quarrels between the realists and the federalists—for example, about whether the constitution of the European Union should contain explicit language about Europe as Catholic, one of the greatest stumbling blocks to ratiﬁcation 8 Music and Nationalism • 9 even at the end of the ﬁrst decade of the twenty-ﬁrst century.
And so a great composer resists the seduction of nationalism by turning it on its head through the power of music to make its own claims on European history (cf. Beckerman 1986–87; Döge 1991; Beckerman 1993b; Plantinga 1996; Döge 2001; Beckerman 2003). Dvorˇák, however, was one of the few lucky ones. Nationalism does something to music that many of us—listeners, critics, philosophers, and historians—ﬁnd unacceptable. On one hand, there are reasons internal to the music, reasons that are textual and aesthetic: 10 Music and Nationalism • 11 music should not give way to the base inﬂuences of the ideologies and politics of nationalism.