National identity, national music and popular music in the Italian Music Press during the long 19th century

2011 ◽  
Vol 52 (1-4) ◽  
pp. 259-270
Author(s):  
Anna Tedesco
Keyword(s):  
National Identity ◽  
Popular Music ◽  
19Th Century ◽  
Italian Opera ◽  
Political Unification ◽  
National Music ◽  
Italian Music

Discusses the notions of national identity, national music and popular music as they emerged in Italian music periodicals during the years 1840–1890, in relation to the process of Italy’s political unification and the dissemination of foreign operas such as French grands opéras in the years 1840–1870 and Wagner’s Musikdramen from 1871 on. Essays and articles by relevant critics and musicians, such as Abramo Basevi and Francesco D’Arcais are discussed. Articles by lesser known journalists such as Pietro Cominazzi and Mattia Cipollone are also taken into account. The use of words like “national” and “popular” is analysed when referring to Italian opera, to its history and to the operas by foreign composers.

scholarly journals Popular Music and Canadian National Identity

2018 ◽  
Vol 43 (2) ◽  
Author(s):  
John Richard Pattinson
Keyword(s):  
Popular Culture ◽  
National Identity ◽  
Popular Music ◽  
Theoretical Discussion ◽  
Research Project ◽  
Favourable Response ◽  
Mnemonic Devices ◽  
Canadian Music ◽  
National Music ◽  
Comme Point

Background  This article discusses citizen reactions to select musicians and/or their music in terms of Canadian national identity symbols.Analysis  A theoretical discussion of music as an identity marker is framed within nationalism theories and criteria for “national” music are proposed. The roles of popular culture and music are subsequently examined as mnemonic devices. Finally, the Canadian situation in terms of national identity, American influence, and Canadian music are briefly summarized, with suggested guidelines for government accreditation of Canadian music. The second part of the article relates a research project focusing on citizen reaction to Canadian music in terms of national identity, with comparisons made with responses to American musicians.Conclusions and implications  The findings indicate a generally favourable response to most of the selected musicians with regard to the musicians as identity symbols.RÉSUMÉContexte  Cet article commente les réactions de citoyens envers certains musiciens et/ou leur musique comme symboles d’identité canadienne.Analyse  Cet article discute de la musique comme indicatrice d’identité dans le cadre de théories sur le nationalisme tout en proposant des critères pour reconnaître ce que serait une musique « nationale ». Par la suite, il examine les rôles de la culture et de la musique populaires comme outils mnémotechniques. Enfin, il résume brièvement la situation canadienne actuelle en fonction d’identité nationale, d’influence américaine et de musique canadienne, et suggère des lignes directrices pour l’accréditation gouvernementale de la musique canadienne. En seconde partie, cet article présente un projet de recherche sur la réaction de citoyens envers la musique canadienne par rapport à l’identité nationale avec comme point de comparaison des réactions envers des musiciens américains.Conclusions et implications Les données indiquent une réaction généralement favorable à l’égard de la plupart des musiciens sélectionnés comme symboles identitaires.

Music, Letters and National Identity: Reading the 1890s' Italian Music Press

2010 ◽  
Vol 7 (2) ◽  
pp. 101-118 ◽  
Author(s):  
Alexandra Wilson
Keyword(s):  
Nineteenth Century ◽  
National Identity ◽  
Rapid Expansion ◽  
Musical Life ◽  
Italian Opera ◽  
The North ◽  
Northern Cities ◽  
The Subject ◽  
Italian Music ◽  
Critical Methods

Much ink was spilled on the subject of music infin-de-siècleItaly. With the rapid expansion of the bourgeoisie during the last decades of the nineteenth century, opera-going in Italy was at its apogee, and as opera attendance surged so too did the demand for gossip about singers, titbits about the lives of composers and reviews of the latest works. This was a moment at which the booming Italian opera and journalism industries converged, particularly in the large northern cities, to produce an explosion of periodicals devoted to opera, encompassing a range of critical methods. The 1890s, however, also saw the development in Italy of a new branch of criticism devoted to more ‘serious’ types of music, penned by writers explicitly hostile to opera's domination of Italian musical life, who looked to the north as their cultural spiritual home.

Remembering the Past in Nineteenth-Century Scotland

2014 ◽  
Author(s):  
James J. Coleman
Keyword(s):  
Nineteenth Century ◽  
National Identity ◽  
19Th Century ◽  
21St Century ◽  
Collective Memories ◽  
The Past ◽  
Prevailing View ◽  
The Way

At a time when the Union between Scotland and England is once again under the spotlight, Remembering the Past in Nineteenth-Century Scotland examines the way in which Scotland’s national heroes were once remembered as champions of both Scottish and British patriotism. Whereas 19th-century Scotland is popularly depicted as a mire of sentimental Jacobitism and kow-towing unionism, this book shows how Scotland’s national heroes were once the embodiment of a consistent, expressive and robust view of Scottish nationality. Whether celebrating the legacy of William Wallace and Robert Bruce, the reformer John Knox, the Covenanters, 19th-century Scots rooted their national heroes in a Presbyterian and unionist view of Scotland’s past. Examined through the prism of commemoration, this book uncovers collective memories of Scotland’s past entirely opposed to 21st-century assumptions of medieval proto-nationalism and Calvinist misery. Detailed studies of 19th-century commemoration of Scotland’s national heroes Uncovers an all but forgotten interpretation of these ‘great Scots’ Shines a new light on the mindset of nineteenth-century Scottish national identity as being comfortably Scottish and British Overturns the prevailing view of Victorian Scottishness as parochial, sentimental tartanry

The origins of syncopation in American popular music

Popular Music ◽  
2021 ◽  
Vol 40 (1) ◽  
pp. 18-41
Author(s):  
David Temperley
Keyword(s):  
African American ◽  
Popular Music ◽  
20Th Century ◽  
19Th Century ◽  
Vocal Music ◽  
Piano Music ◽  
Historical Process ◽  
American Popular Music ◽  
The 19Th Century ◽  
Fourth Position

AbstractThe origins of syncopation in 20th-century American popular music have been a source of controversy. I offer a new account of this historical process. I distinguish between second-position syncopation, an accent on the second quarter of a half-note or quarter-note unit, and fourth-position syncopation, an accent on the fourth quarter of such a unit. Unlike second-position syncopation, fourth-position syncopation tends to have an anticipatory character. In an earlier study I presented evidence suggesting British roots for second-position syncopation. in contrast, fourth-position syncopation – the focus of the current study – seems to have had no presence in published 19th-century vocal music, British or American. It first appears in notation in ragtime songs and piano music at the very end of the 19th century; it was also used in recordings by African-American singers before it was widely notated.

scholarly journals Second-Position Syncopation in European and American Vocal Music

2019 ◽  
Vol 14 (1-2) ◽  
pp. 66
Author(s):  
David Temperley
Keyword(s):  
African American ◽  
Popular Music ◽  
19Th Century ◽  
Vocal Music ◽  
Corpus Analysis ◽  
Pitch Contour ◽  
Text Setting

I define a second-position syncopation as one involving a long note or accent on the second quarter of a half-note or quarter-note unit. I present a corpus analysis of second-position syncopation in 19th-century European and American vocal music. I argue that the analysis of syncopation requires consideration of other musical features besides note-onset patterns, including pitch contour, duration, and text-setting. The corpus analysis reveals that second-position syncopation was common in English, Scottish, Euro-American, and African-American vocal music, but rare in French, German, and Italian vocal music. This suggests that the prevalence of such syncopations in ragtime and later popular music was at least partly due to British influence.

scholarly journals “Boundlessly Different”

2020 ◽  
Vol 32 (4) ◽  
pp. 118-147
Author(s):  
Bernhard Steinbrecher ◽  
Bernhard Achhorner
Keyword(s):  
National Identity ◽  
Young People ◽  
Popular Music ◽  
Cultural Activity ◽  
Habsburg Monarchy ◽  
German Speaking ◽  
The Media ◽  
Brass Music ◽  
Nazi Era ◽  
Current Popularity

Brass music has become increasingly popular in recent years in Europe’s German-speaking regions, especially among young people, who attend brass festivals, such as Woodstock der Blasmusik, in great numbers. This article examines this phenomenon within the context of its historical weight. Particularly in Austria, brass music is intertwined strongly with local cultural activity and heritage, alpine folklore, and national identity, with the Habsburg Monarchy and the Nazi era as well as with the rise of Volkstümliche Music and Austrian popular music. The study pinpoints the initial spark of the current popularity to the early 1990s, when young brass musicians set new tones musically and culturally. It illustrates how bands such as Mnozil Brass and Innsbrucker Böhmische, and later Viera Blech and LaBrassBanda, renegotiated established conceptions, ideas, and attitudes, and how they have, or have not, overcome habitualized ways of performing and enjoying brass music. On a broader level, the article uncovers how narratives related to regionality, Heimat, community, institutionalization, virtuosity, internationality, openness, corporality, and hedonistic pleasure all come together, at times in contradictory ways, in the media and musicians’ ethical-aesthetic discussion about contemporary brass music. Ultimately, a close music-analytical reading of selected songs shows how the music fosters and reflects these interrelations.

scholarly journals ZAINTERESOWANIA JĘZYKOZNAWCZE ZYGMUNTA KRASIŃSKIEGO

2020 ◽  
pp. 93-101
Author(s):  
TADEUSZ LEWASZKIEWICZ
Keyword(s):  
National Identity ◽  
19Th Century ◽  
Mother Tongue ◽  
Polish Language ◽  
Strong Attachment ◽  
The 19Th Century

Zygmunt Krasiński devoted much if his attention to the “philosophical” essence of the language and the origins of various tongues. His conjectures, based on speculative and mystic philosophy, are of no scientific importance; rather, they reflect the author’s strong attachment to religion. While not original, his views on the role of a mother tongue in preserving national identity are correct. The writer was interested in spelling and correct grammatical usage of the Polish language. He also focused on assessing the style of texts written in Polish and French. His views were hardly innovative, offering some value in comparison with the 19th century theory of style. Other language-related mentions: the sophistication of Juliusz Słowacki’s language and proposals of baby names based on “inspired” etymological ideas, are inconsequential.

Ambiguously Hip: The Tragically Hip and Canadian Nationalism

2021 ◽  
pp. e20190041
Author(s):  
Gregory Millard
Keyword(s):  
National Identity ◽  
Popular Music ◽  
Brain Cancer ◽  
Canadian Nationalism

The Tragically Hip are a remarkable, indeed unique, phenomenon in Canadian popular music. Their 2016 final tour, undertaken after lead singer Gordon Downie was diagnosed with brain cancer, spectacularly reinforced longstanding perceptions of a privileged link between the band’s music and Canadian national identity. This article probes this connection, asking why deeply ambiguous and often critical references to Canada sufficed to raise The Hip to an extraordinary status as icons of Canadian nationalism. Drawing from theories of “banal” and “everyday” nationalism, it argues that, while The Hip’s work may legitimately be read as nationalist, Canada's position as a culturally peripheral nation is the key to explaining the incongruous appropriation of the Hip’s work for nationalist self-celebration. The discourse around The Tragically Hip, then, helps to illuminate some of the ways in which nationalism works in a culturally peripheral context.

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