Musical nationalism

Musical nationalism refers to the use of musical ideas or motifs that are identified with a specific country, region, or ethnicity, such as folk tunes and melodies, rhythms, and harmonies inspired by them.

As a musical movement, nationalism emerged early in the 19th century in connection with political independence movements, and was characterized by an emphasis on national musical elements such as the use of folk songs, folk dances or rhythms, or on the adoption of nationalist subjects for operas, symphonic poems, or other forms of music (Kennedy 2006). As new nations were formed in Europe, nationalism in music was a reaction against the dominance of the mainstream European classical tradition as composers started to separate themselves from the standards set by Italian, French, and especially German traditionalists (Miles n.d.).

More precise considerations of the point of origin are a matter of some dispute. One view holds that it began with the war of liberation against Napoleon, leading to a receptive atmosphere in Germany for Weber's opera Der Freischütz (1821) and, later, Richard Wagner's epic dramas based on Teutonic legends. At around the same time, Poland’s struggle for freedom from Czarist Russia produced a nationalist spirit in the piano works of Frédéric Chopin, and slightly later Italy's aspiration to independence from Austria resonated in many of the operas of Giuseppe Verdi (Machlis 1979, 125–26). Countries or regions most commonly linked to musical nationalism include Russia, Czechoslovakia, Poland, Romania, Scandinavia, Spain, UK, Latin America and the United States.

Frédéric Chopin was one of the first composers to incorporate nationalistic elements into his compositions. Joseph Machlis states, "Poland's struggle for freedom from tsarist rule aroused the national poet in Poland. ... Examples of musical nationalism abound in the output of the romantic era. The folk idiom is prominent in the Mazurkas of Chopin" (Machlis 1963, 149–50). His mazurkas and polonaises are particularly notable for their use of nationalistic rhythms. Moreover, "During World War II the Nazis forbade the playing of ... Chopin's Polonaises in Warsaw because of the powerful symbolism residing in these works" (Machlis 1963, 150).

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