How German Is It? Nationalism and the Idea of Serious Music in the Early Nineteenth Century

Applegate, Celia

doi:10.1525/ncm.1998.21.3.02a00030

Cited by 9 publications

(5 citation statements)

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“…Even so-called absolute music represents and communicates social meanings insomuch as it is expressive of someone's cultural, aesthetic, political, and other values and sensibilities at particular points in history. Beethoven's music, for example, was not only an expression of German musical values-which were only assumed to be universal-but also a musical manifestation of a growing German confidence and will to power (Applegate, 1998). His music arguably provided a stimulus to German idealism, which later contributed to the rise of the Nazi party (Spotts, 2003).…”

Section: Music As a Medium Of Communicationmentioning

confidence: 99%

What Does Music Mean, and Can Music Education Really Matter?

Woodford¹

2012

Teachers College Record: The Voice of Scholarship in Education

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Section: Music As a Medium Of Communicationmentioning

confidence: 99%

What Does Music Mean, and Can Music Education Really Matter?

Woodford¹

2012

Teachers College Record: The Voice of Scholarship in Education

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“…Na obra cada suíte funde-se de maneira própria com a música folclórica e popular, especialmente o estilo do choro e a musicalidade sertaneja, com traços do impressionismo francês e do romantismo alemão (NÓBREGA, 1971;KIEFER, 1986). A Série Bachianas tornou-se uma síntese entre a matriz musical brasileira e a linguagem de Bach, sendo observada como uma concepção universalista e profundamente eurocentrada (APPLEGATE, 1998). Dessa forma, orientou Heitor Villa-Lobos a olhar para o folclore musical, dando-lhe um tratamento "bachiano", como parte do pensamento modernista…”

Section: Introductionunclassified

O "Canto do Sertão" na "Bachiana nº 4": uma perspectiva sociomusicológica

Medeiros

Alves

Lopes

2020

ARJ

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O artigo traz um estudo da peça Coral Canto do Sertão, da Bachiana Brasileira nº 4, de Heitor Villa-Lobos. Trata-se de uma análise intramusical (ritmos e melodias) e também extramusical, considerando os fatores externos, como características físicas do sertão nordestino, como essas são internalizadas e ressignificadas na música. O estudo desenvolveu-se a partir do exame da partitura a fim de explorá-la sob uma perspectiva crítica, indo além da própria música, sem, portanto, sair dela. Sob uma abordagem musicológica (KERMAN, 2010; LOPES, 2014), foram identificados trechos (tropos) e frases (tópicas) que conduziram o tema (AGAWU; RATTEN, 1980), sendo observados como se moviam na música a fim de conferir-lhe o título sugerido: Canto do Sertão. Considerando a episteme musicológica e o exame documental, levantamos a discussão sobre até que ponto a música, em sua linguagem, pode trazer ou estabelecer pontos de identificação com a realidade da região abordada, o sertão nordestino.

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“…In Germany, musicians made patriotic discourse their own, emphasizing the significant role of musical education and ennobling their profession. They answered the dictums of Kant, who had effectively belittled music as a lower art form aimed only at pleasure and entertainment, by affirming the existence of a serious and artistic music that was superior even to language, capable of speaking directly to the understanding: a classical music in which Germans had been particularly distinguished and which became a key element in their national culture (Applegate 1998(Applegate , 2005Applegate and Potter 2002).…”

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confidence: 99%

Between Nationalism, Exoticism, and Social Distinction: The Spanish Lyric Drama in the 19th Century

Miralles

2022

Nationalities Papers

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Attempts to create a national opera in Spain repeatedly failed throughout the 19th century. Some authors have attributed this phenomenon to a deficit in the nationalization process. Others, to the contrary, have proved that there was a strong sense of Spanish national musicality from the middle of the 19th century onward. This article tries to explain this paradox underlining some essential elements that are not always attended by specialists: the importance of transnational, social, and economic dynamics that interfered in the process of the cultural construction of modern national identities. The projects of the Spanish nationalist intellectuals of the 19th century in relation to the definition of a national music were marked by the Romantic construction of Spanish musical exoticism, the new industry of entertainment, the existential situation of Spanish musicians, the formation of new artistic and musical fields, and the appearance of new forms of social distinction in the aftermath of the Spanish Liberal Revolution of the 1830s.

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How German Is It? Nationalism and the Idea of Serious Music in the Early Nineteenth Century

Cited by 9 publications

References 0 publications

What Does Music Mean, and Can Music Education Really Matter?

What Does Music Mean, and Can Music Education Really Matter?

O "Canto do Sertão" na "Bachiana nº 4": uma perspectiva sociomusicológica

Between Nationalism, Exoticism, and Social Distinction: The Spanish Lyric Drama in the 19th Century

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