Cosmopolitanism in the Age of Nationalism, 1848–1914

Gooley, Dana; Minor, Ryan; Preston, Katherine K.; Pasler, Jann

doi:10.1525/jams.2013.66.2.523

Cited by 16 publications

(4 citation statements)

References 18 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Tchaikovsky was a passionate patriot who loved everything about Russia and all his works are full of patriotic ideas and feelings. It was this passionate love for his country and the Russian people that prompted him to delve into Russian folk songs and to imprint his works with the Russian stamp [23].…”

Section: Organization Of the Textmentioning

confidence: 99%

Discussing the Ethnicity of Tchaikovsky's 1812 Overture through the Professional Lens of Musicology

Wang

2024

hiaad

View full text Add to dashboard Cite

The scope of my dissertation is: the sections of the 1812 Overture that are characterized by Russian folk music; the connection between the Russo-French War of 1812 and the 1812 Overture; and the composer Tchaikovsky's inspiration and compositional process for writing the 1812 Overture. The purpose of the research is: to discuss the embodiment of Russian musical style in the 1812 Overture through the knowledge and understanding of folk music. In the process of writing the article, the first step is to listen to the audio of the 1812 Overture, watch the video of the 1812 Overture, and find out the characteristic passages of Russian music and the use of characteristic instruments in the video of the 1812 Overture, and combine them with the same passages in the score of the 1812 Overture. Next, collect literature on the 1812 Overture, Tchaikovsky, Russian folk music, and definitions of folk music. And begin to organize the framework of the thesis and categories the literature. Finally write the paper, revise the final draft and submit the course paper. The result is a discussion and critical response to the reasons for the controversy of the Russian national music of the composer Tchaikovsky by the people of Russia itself by analyzing the national character of the 1812 Overture. The conclusion is that the 1812 Overture is a strong confirmation of the composer Tchaikovsky's expertise in using not only Western European symphonic music, but also Russian musical styles in his musical compositions.

show abstract

Section: Organization Of the Textmentioning

confidence: 99%

Discussing the Ethnicity of Tchaikovsky's 1812 Overture through the Professional Lens of Musicology

Wang

2024

hiaad

View full text Add to dashboard Cite

show abstract

“…One of the genres in which a certain acceptance degree of ancient Egypt is metal (e.g., Olabarria, 2019). Although some works that use this culture as an element in operas, musicals, or piano pieces (Gauthier & McFarlane-Harris, 2012;Gooley et al, 2013;Diehl, 2012) such as Rossini's "Moses in Egypt", Verdi's "Aida", Saint-Saëns's piano concerto "The Egyptian", musical "The Prince of Egypt", and Maxim's recording piece "Exodus" (Mrvica, 2021) once appeared as the background music of Russian artistic gymnast Anna Pavlova in the 2008 Beijing Olympics.…”

Section: Ancient Egyptian Elements In Popular Musicmentioning

confidence: 99%

A Stereotype in Jay Chou’s “Snake Dance” as a Cross-cultural Phenomenon in Contemporary Mandopop

Li,

Chow

2023

JICC

View full text Add to dashboard Cite

Certain typical elements of ancient Egyptian culture have already become particularly symbolically charged. Even today, this sort of fascination for ancient Egypt and its relevant things still exists. Many different showing examples about ancient Egyptian culture in a variety of domains around the world demonstrate people’s continued interest in it. This article discusses a song which was composed by Jay Chou, titled “Snake Dance”, and as a pertinent example in Mandopop, how popular music and Jay Chou’s creative style were intertwined with the cognition of ancient Egypt. It demonstrates how this song directly reflects the features related to the stereotype in a cross-cultural communication. Through textual and visual analysis in terms of lyrics, music and music video, this article shows the connection for already existing examples in contemporary Mandopop under the context of global cross-cultural phenomenon, especially the holistic presentation about this form of Egyptian elements was observed. This study also aims to fill the previously cross-cultural research gap, while explain as an acceptable form blending ancient Egyptian elements in Mandopop.

show abstract

“…Put another way, on a purely programmatic level, musical cosmopolitanism alluded much more to race and genres (and thus, at least to a certain extent, to class) than to the possible experience of totally unknown musical idioms. 77 Anyway, the sheer observation of a culturally diverse programming does not really answer the question whether the Ryman became a truly "cosmopolitan space" (Cristina Magaldi) in which an active engagement with the other occurred. 78 Such an inquiry would require a different research design and close scrutiny of the audience's perceptions.…”

Section: Beyond Parochial and Cosmopolitan Narrativesmentioning

confidence: 99%

Entertainment for Everyone: The Nashville Ryman Auditorium before the Advent of Country Music

Rempe

2019

Journal of Urban History

View full text Add to dashboard Cite

This article reconsiders the story of Nashville’s Ryman Auditorium from its beginnings in the late nineteenth century to the advent of country music in the early 1950s. Closely scrutinizing the management of Lula C. Naff and her professional network, it argues that the Ryman, thanks to its diversified programming, turned into a music venue for everyone in the course of the first half of the twentieth century, despite ongoing segregation, social cleavages, and cultural parochialism. As such, the Ryman was neither simply the mythical birthplace of a purely local music scene nor a cosmopolitan hotspot of musical special gigs. Rather, the Auditorium developed its distinct aura from the particular mixture of its local religious origin and personal management as well as from its diversified connections into various cultural and social constituencies, on stage as well as in the audience.

show abstract

Cosmopolitanism in the Age of Nationalism, 1848–1914

Cited by 16 publications

References 18 publications

Discussing the Ethnicity of Tchaikovsky's 1812 Overture through the Professional Lens of Musicology

Discussing the Ethnicity of Tchaikovsky's 1812 Overture through the Professional Lens of Musicology

A Stereotype in Jay Chou’s “Snake Dance” as a Cross-cultural Phenomenon in Contemporary Mandopop

Entertainment for Everyone: The Nashville Ryman Auditorium before the Advent of Country Music

Contact Info

Product

Resources

About