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National stereotypes and music

Bibliographic Data

ID7338232
AuthorsKrisztina Lajosi (Department of European Studies University of Amsterdam Amsterdam The Netherlands, corresponding author)
Year2014
Volume20
Issue4
Pages628-645
Publication date2014-09-22
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueNations and Nationalism (JOURNAL)
Journal identifiersISSN: 1345-5078 • E-ISSN: 1469-8129
PublisherWiley (PUBLISHER • GB)
DOI10.1111/nana.12086
OpenAlexW2166508984
LanguageEN
Citations received6
References cited8

Music became a marker of national identity in nineteenth‐century E urope. 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 H ungarian national style, and on the R ákóczy M arch which became famous thanks to B erlioz's F aust . This essay traces the complex process of cultural transfer through which these martial tunes of mixed ethnic origins have become emblematic of Hungarian music

Aesthetics · Art · Ethnic group · Focus (optics · Linguistics · Literature · Musical · Musical form · National identity · Phrase · Political science · Politics · Sociology · Style (visual arts · Violin musical styles · Anthropology · Central European national history · European Cultural and National Identity · Historical Geopolitical and Social Dynamics · History · Law · Philosophy

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Unique citing works6
Citations per year0,67
Citation span2017 - 2025 (9)
Citation velocityrecent
Highly citedNo
Citation typesNeutral: 6

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