Focus: Music, Nationalism, and the Making of the New Europe

Bohlman, Philip V.

doi:10.4324/9780203844496

Cited by 43 publications

(32 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…While it was not often national it could serve the purpose of defining the nation. As Philip Bohlman (:5) has written, ‘Music is malleable in the service of the nation not because it is a product of national and nationalist ideologies, but rather because musics of all forms and genres can articulate the processes that shape the state.’ For the brief period of time discussed in this article, Lavallée, Smith, and their colleagues had attempted to bring music into the political process. They did so primarily through performance and through their support of the larger community through charity concerts.…”

Section: Discussionmentioning

confidence: 99%

“…In their exploration of the wider field of music making, ethnomusicologists have begun to explore other ways in which nationalism has found expression through music, or, how music has been used for nationalist purposes. In a recent work that bridges ethnography and history, Philip Bohlman (:5) has written: ‘Nationalism no longer enters music only from the top, that is, from state institutions and ideologies, but may build its path into music from just about any angle, as long as there are musicians and audiences willing to mobilize cultural movement from those angles.’ While using the methods of historical musicology, this article builds on Bohlman's work, arguing that the group of musicians headed by Smith and Lavallée articulated French‐Canadian nationalism through: 1) their support of charitable causes and nationalist projects; 2) the criticism they published in la Presse and l'Union nationale ; and 3) only marginally through the composition and performance of nationalistic works. Somewhat surprisingly, however, the form of nationalism they favoured was not narrowly French‐Canadian but civic in nature.…”

mentioning

confidence: 99%

See 1 more Smart Citation

Music and the Fight against Confederation in 1860s Montréal

Thompson

2013

Studies Ethnicity & National

View full text Add to dashboard Cite

In this article, I examine how music was used as an expression of French-Canadian identity in nineteenth-century Montréal. Focusing on the 1860s and a group of musicians and intellectuals opposed to Confederation, I explore their efforts to use performance, criticism, and composition in the (re)construction of French-Canadian identity. My main sources of information are la Presse and l'Union nationale, two newspapers of the time that were strongly opposed to Confederation and which were vigorous in the promotion of musical events. Through an examination of the musical and political activities advertised and reviewed in the pages of these and other newspapers, we shall see how culture was used as a means to strengthen French-Canadian nationalism. At the same time, while the musicians themselves may have sought an independent Québec, they remained open to other cultures and through their collaboration with non-francophones articulated a form of civic nationalism.

show abstract

Section: Discussionmentioning

confidence: 99%

mentioning

confidence: 99%

Music and the Fight against Confederation in 1860s Montréal

Thompson

2013

Studies Ethnicity & National

View full text Add to dashboard Cite

show abstract

“…Several authors have commented on the development of a ‘national’ song tradition in Europe during the 19 th century in connection with the creation of modern national states. Bohlman (2008, p. 60) lists typical traits such as ‘stress on the origins of the national, particularly in nature’ and ‘the distinctiveness of the language’. Latvia, too, had developed a body of ‘national’ music during the independence movement and the First Republic, but much of it had been suppressed during the Soviet occupation.…”

Section: Lyric Civic and National Songsmentioning

confidence: 99%

Pie laika … Now is the time. The singing revolution on Latvian radio and television

Gronow

Daugavietis

2020

Pop. Mus.

View full text Add to dashboard Cite

In the Soviet Union, song competitions had an important role in presenting new artists and songs. The Mikrofona aptauja contest of Latvian radio (1968–1994) was the main forum for new Latvian pop music. It had a reputation for expressing nationalist feelings within the limits of Soviet censorship. In 1988, with the rise of new political movements in the Soviet Union, the competition became a venue for the Latvian independence movement. The winning song of 1988 was a demand for ‘freedom to the fatherland’. The competition also played a part in the rehabilitation of pre-war popular music which had been forbidden in Soviet Latvia. The paper discusses the role of journalists, politicians and songwriters in this process. After the privatisation of the economy, the song competition was taken over by private entrepreneurs, as public interest in political songs waned.

show abstract

“…Music and songs not only symbolize nationalism, they also participate in the formation of it. The modern nation-state most powerfully come into being when its citizens sing together, embodying what Benedict Anderson (1983) called unisonance (Bohlman, 2011). Music has been intertwined with nationalism to represent and construct the national identity in many ways.…”

Section: Introductionmentioning

confidence: 99%

A Malaysian Nation Brand: Its Dissemination by Radio Malaya via the Song Tanah Pusaka

Hamzah

2019

JKMJC

View full text Add to dashboard Cite

A 'nation branding' project disseminates the reputation of a country, just as a company's or product's brand image is created through advertising and branding. This reputation has a profound impact on a country's image and the way it is perceived. Increasingly countries are reinventing themselves and, in each time, repackaging its symbolisms for both internal and external audiences. This is essentially a nation branding effort that utilises symbols like colours, the national flower, the national anthem, military uniforms, medallions, rituals and patriotic songs. Radio Malaya, which began broadcasting in 1946, gradually developed into an arm for the propagation public service announcements, news, documentaries, interviews apart from music and songs upon the Federation of Malaya's independence in 1957. With the establishment of Orkes Radio Malaya in 1961, popular patriotic songs began airing earnestly. This marks the beginning of the government's intent in branding a national identity and making it identifiable in a sonic manner. This paper discusses the role of the popular patriotic song Tanah Pusaka (1964), in the process of branding the nation through the radio. It focuses on the importance of branding disseminated through the repetition of symbols in songs via the radio. The salient symbols and narrative of collective history embodied in this song are important in maintaining the survival and resilience of the ethnic that share the same collective history.

show abstract

Focus: Music, Nationalism, and the Making of the New Europe

Cited by 43 publications

References 0 publications

Music and the Fight against Confederation in 1860s Montréal

Music and the Fight against Confederation in 1860s Montréal

Pie laika … Now is the time. The singing revolution on Latvian radio and television

A Malaysian Nation Brand: Its Dissemination by Radio Malaya via the Song Tanah Pusaka

Contact Info

Product

Resources

About