A History of Western Choral Music, Volume 2
Chester L. Alwes
Published:
2016
Online ISBN:
9780199377022
Print ISBN:
9780199376995
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A History of Western Choral Music, Volume 2
Chester L. Alwes
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Chester L. Alwes
Pages
167–198
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Published:
September 2016
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Alwes, Chester L., 'Nationalism, Folk Song, and Identity', A History of Western Choral Music, Volume 2 (
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Abstract
One of the principal reactions to serialism and the historical dominance of German contrapuntal music was a new focus on local culture as a source of nontraditional texts, harmonies, and textures. The discovery and cultivation of “folk song” as the basis for a new type of music was especially strong in England and Hungary in the early twentieth century. Each country boasted a pair of dominant composers—Vaughan Williams and Holst (England) and Kodály and Bartók (Hungary)—who were pathfinders for this new global music. Later in the century, this same trend lent unique identity to composers in countries that had not previously been players on the world stage, especially Russia and its Warsaw Pact satellite states (most recently Estonia, Latvia, and Lithuania). Near the end of the century, the assertion of new and distinct cultures fueled the movement toward the global music phenomenon made possible by the Internet.
Keywords: folk song, nationalism, Holst, Vaughan Williams, Kodály, Bartók, Stravinsky, Tormis, world music
Subject
Musicology and Music History
Collection: Oxford Scholarship Online
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