This significant volume moves music-historical research in the direction of deconstructing the national grand narratives in music history, of challenging the national paradigm in methodology, and thinking anew about cultural traffic, cultural transfer and cosmopolitanism in the musical past. The chapters of this book confront, or subject to some kind of critique, assumptions about the importance of the national in the musical past. The emphasis, therefore, is not so much on how national culture has been constructed, or how national cultural institutions have influenced musical production, but, rather, on the way the national has been challenged by musical practices or audience reception.
Part 1 Confronting the National 1. Cosmopolitan Musicology. Derek B. Scott. 2. Liszt’s National Compositions in the Year of the Franco-Prussian War. Shay Loya. 3. The Migrant and the Nation: Hanns Eisler and German Identity. Florian Scheding. 4. The Travelling Musician as Cosmopolitan: Western Performers and Composers in Mid-Nineteenth-Century St Petersburg and Moscow. Rutger Helmers. 5. Communist Nationalisms, Internationalisms, and Cosmopolitanisms: The Case of the German Democratic Republic. Elaine Kelly. Part 2 Confronting National Institutions 6. Listening Together: Aurality and the Everyday in Riga before the Shoah. Kevin C. Karnes. 7. Two Men Averting the Gaze from the Fatherland: Ilmari Krohn and Armas Launis as Cosmopolitan Musicologists in Early Twentieth-Century Finland. Markus Mantere. 8. National Phonography in the Musical Past: Empire, Archive, and Overlapping Musical Migrations in Britain. Tom Western. 9. Electroacoustic Mythmaking: National Grand Narratives in Electroacoustic Music. James Andean. Part 3 Confronting National Stereotypes 10. Learning Music in the Social Jungle: Young Performers’ Method Books in the Post-War USA and De-Germanized Finland. Tomi Mäkelä.11. Liberté, Egalité, and Lutherie: Fetishizing Stradivari in the Context of French Nationalism. Christina Linsenmeyer. 12. ‘Cantor of the enduring human heart’: Wagner in the Parisian press, 1933. Rachel Orzech. 13. Territory Is the Key: A Look at the Birth of ‘National Music’ in Spain (1799–1803). Teresa Cascudo.