Music is commonly regarded as a universal language, and yet it is also through music that the fiercest of nationalistic sentiments and inspirations for protest and rebellion have been expressed.
As a unifying force, music has frequently been used in the quest to establish a national identity as well as to emphasise social and political beliefs and promote particular agendas. But in doing so, music also establishes ‘others’ who do not belong to the collective. In light of political scientist and historian Benedict Anderson’s characterisation of nationalism as an imagined community, it is hardly surprising that music, with its extraordinary power over the human imagination, should play such an integral part in the way nationalism is constructed and understood.
The nineteenth century saw a development in the quest by many composers for a spirit of nationalism in their music, particularly those with an interest in folk song, and/or a passion for independent identities. The modern corollary is that national anthems are still sung at the beginning of mass public events, to recognise achievement in competitive sports, such as the Olympic Games, at important civic occasions, thereby signifying the inextricable bond between music and nationalism.
But why does music have the capacity to direct the human imagination in this way? What does a nation sound like—or, to put it another way, why does a particular musical piece conjure up feelings of belonging to a particular nation? What aspects of the nation and its people are highlighted and what aspects are ignored by nationalistic music? How does nationalism influence the reception of music? Does being part of a particular national background shape an individual’s sense of music? How is music used against nationalistic impulses, and for protests generally? How can music be used to provide education about identities, nations, and causes? In what way does music still support the construction of national identity even when it is not deliberately conceived for that purpose? What happens when the nationalistic meaning of music is contested and reworked? Does it still make sense to think in terms of music and nationalism in the age of globalism? What does the future hold for the connection between music and nationalism?
The Music and Nationalism event provides a platform for exploring these questions through inter-disciplinary dialogue and interactive engagement.
Key topics, themes and issues for discussion may include, but are definitely not limited to:
Music and nationalism in a global context
Music, nationalism and New Europe
‘Rebel’ /protest songs
National Anthems (composition, performance, context)
Music and propaganda
Folk Songs and nationalism
The Place of nationalism in the musical canon
Composers and performers who are associated with nationalism
Music theory perspectives
Representations of music and nationalism in written texts, encompassing song lyrics and beyond
National imagination and musical tastes, e.g. via the Eurovision Song Contest
Nationalism and the musical canon
Music, nationalism and diasporas
Nationalism and opera
The Folk Song repertoire
Music, nationalism and art
Popular music and nationalism, e.g. punk and New Wave
Physiological/psychological perspectives on connections between music and nationalism
Intellectual property and financial considerations associated with nationalist music
Pedagogy issues: teaching pupils the music of national identity
What To Send
The aim of this interdisciplinary conference and collaborative networking event is to bring people together and encourage creative conversations in the context of a variety of formats: papers, seminars, workshops, storytelling, performances, poster presentations, panels, q&a’s, round-tables etc.
300 word proposals, presentations, abstracts and other forms of contribution and participation should be submitted by Friday 25th September 2020. Other forms of participation should be discussed in advance with the Organising Chair.
All submissions will be minimally double reviewed, under anonymous (blind) conditions, by a global panel drawn from members of the Project Development Team and the Advisory Board. In practice our procedures usually entail that by the time a proposal is accepted, it will have been triple and quadruple reviewed.
You will be notified of the panel’s decision by Friday 9th October 2020.
If your submission is accepted for the conference, a full draft of your contribution should be submitted by Friday 12th February 2021
Abstracts and proposals may be in Word, PDF, RTF or Notepad formats with the following information and in this order:
a) author(s), b) affiliation as you would like it to appear in the programme, c) email address, d) title of proposal, e) body of proposal, f) up to 10 keywords.
E-mails should be entitled: Music and Nationalism Submission.
Where To Send
Abstracts should be submitted simultaneously to the Organising Chair and the Project Administrator:
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Progressive Connexions believes it is a mark of personal courtesy and professional respect to your colleagues that all delegates should attend for the full duration of the meeting. If you are unable to make this commitment, please do not submit an abstract or proposal for presentation.
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For further details and information please visit the conference web page: https://www.progressiveconnexions.net/interdisciplinary-projects/music-a...
Sponsored by: Progressive Connexions