Musical Nationalism in Russians’ View: Based on Vladimir Stasov’s and Arthur Lourie’s Writings
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Nationalism in music is often association with Russian composers, such as Mikhail Glinka, Alexander Borodin, Modest Mussorgsky, Peter Tchaikovsky. But how national is their music? The concept of‘nationalism in music’ according to western musicology, means a conscious use of actual folklore or/and local heritage recognized as belonging to one’s own nation. However in Russia, such definition has been frequently changed. To be exact, the music composition using folkloric tunes yet employing western musical forms, can be hardly considered as true national one. This article analyzes three writings by Russian music critics. They are “Our Music”(Нашамузыка, 1883) by Vladimir Stasov, “At the Crossroads: The Culture and Music”(Нараспутье: Культураимузыка, 1922) and “The Ways of the Russian Music”(Путирусскоймузыки, 1933) by Arthur Lourie. In these writings, first I explore what the term “nationalism in music” is meant in the view of Western and Russian musicology. The second, how differently the national identity in music was seen during the period from the end of the nineteenth century to the early of the twentieth century. Finally I will examine what caused changes on the view of national identity in Russian music.
Abstract
Nationalism in music is often association with Russian composers, such as Mikhail Glinka, Alexander Borodin, Modest Mussorgsky, Peter Tchaikovsky. But how national is their music? The concept of‘nationalism in music’ according to western musicology, means a conscious use of actual folklore or/and local heritage recognized as belonging to one’s own nation. However in Russia, such definition has been frequently changed. To be exact, the music composition using folkloric tunes yet employing western musical forms, can be hardly considered as true national one. This article analyzes three writings by Russian music critics. They are “Our Music”(Нашамузыка, 1883) by Vladimir Stasov, “At the Crossroads: The Culture and Music”(Нараспутье: Культураимузыка, 1922) and “The Ways of the Russian Music”(Путирусскоймузыки, 1933) by Arthur Lourie. In these writings, first I explore what the term “nationalism in music” is meant in the view of Western and Russian musicology. The second, how differently the national identity in music was seen during the period from the end of the nineteenth century to the early of the twentieth century. Finally I will examine what caused changes on the view of national identity in Russian music.
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