Carl Nielsen and the Nationalist Trap, or, what, Exactly, is 'Inextinguishable'?
release_jm2dscfpuvfapazsiv5essnpri
by
Raymond Knapp
Abstract
Nationalist music evokes such elements as a mythologized landscape and a virtuous people who 'belong' to that landscape, presented, through narrative or tone, with either nostalgia or a sense of aspiration (or both). More fundamentally, however, beginning early in the nineteenth century, musical nationalism has depended on the belief that a composer's music can and should speak, authentically and powerfully, for a collective. This essay first describes how this belief took hold, initially through Beethoven reception and the influence of German Idealism, and then presents a nationalist reading of Nielsen's Inextinguishable in order to demonstrate the gravitational pull of nationalism on symphonic works and their reception.
In application/xml+jats
format
Archived Files and Locations
application/pdf 97.3 kB
file_ymtpfbgvgjbdbixjkybrxqwktm
|
web.archive.org (webarchive) tidsskrift.dk (web) |
article-journal
Stage
published
Date 2009-04-10
access all versions, variants, and formats of this works (eg, pre-prints)
Crossref Metadata (via API)
Worldcat
SHERPA/RoMEO (journal policies)
wikidata.org
CORE.ac.uk
Semantic Scholar
Google Scholar