ABSTRACT. 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.
This themed section aims to examine the offline implications of a thriving online nationalist culture fostered by various social media platforms. Several studies have concluded that social media have enhanced nationalism, but there is still a significant lacuna in understanding the deep social, political, and cultural transformations produced by online platforms. How is nationalism different in the digital age? How do nationalists harness the transnational character of social media to disseminate and channel their message simultaneously to various cultural groups? How is the message composed and translated to appeal to various groups, and how does nationalist content cross language and cultural boundaries? The papers that make up this themed section explore the transnational aspects of digital cultures and provide new insights into the methodological difficulties of understanding the offline impact of the contents of social media.
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