Meanwhile it is clearly as hard
for composers to renounce nationality as it is for their music to
resist all attempts to bring nationality into the frame of its critical
and analytical interpretation. Late 20th century musical nationalism
tends in reality to be a particular, personal, multinational synthesis:
and the greatest value the phenomenon has for the analyst is in
reinforcing the primacy of the individual personality which creates
those memorable compositional structures.
Arnold Whittall (King's College, London)
Towards a Theory of lnternationalism, Europeanism, Nationalism and Co-Nationalism in 20th-century Music.
Personal Style, Impersonal Structure? Music Analysis and Nationality.
Nationalism is not Enough: A Composer's Perspective.
Music, Nationality and Society.
The Allure of Distant Strains: Musical Receptiveness of the Anglo-Saxon.
How Modernism Came to Finland? An Exposition of the History of Ideas.
Finnish Music in the 20s and 30s: lnternationalism vs. Nationalism.
The Main Trend in Finnish Music in the 1970s and 1980s and the Problem of "Finnishness".
Nationalistic and Non-Nationalistic Views of Sibelius in 20th-century Finnish Music History Writing.
English Musical Character: Intrinsic or Learned?
Scottish Music, Real and Spurious.
Aspects of Scottish Musical Nationalism in the 20th Century, with
special reference to the Music of F. G. Scott, Ronald Center and Ronald
Musical Nationalism in Ireland in the Twentieth Century: Complexities and Contradictions.
An "old eminence among musical nations". Nationalism and the Case for a Musical History in Ireland.
'Getting ist History Wrong': English Nationalism and the Reception of Ralph Vaughan Williams.
National Parallels in the Orchestral Works of Jean Sibelius and Arnold Bax: Focusing on Their Symphonic Language.
Nationalism in Leevi Madetoja's Operatic Works.
The Solitary Way of Uuno Klami.
Editor: Tomi Mäkelä, Professor of Musicology at the University of Magdeburg, Germany