19세기 심포니 장르에서 구축된 독일 헤게모니와 그 타자로서의 민족악파 심포니 (German Hegemony in Symphony Genre of the 19th century and Symphony of Nationalist as the Others)

이향수 (Lee, Hyangsu)

doi:10.34303/mscol.2011.19.1.004

German Hegemony in Symphony Genre of the 19th century and Symphony of Nationalist as the Others

Journal of the Korean Society for Musicology
Abbr : JKSM
2011, 19(1), pp.97~137
DOI : 10.34303/mscol.2011.19.1.004
Publisher : The Korean Society for Musicology
Research Area : Arts and Kinesiology > Musicology > Other Musicology

Lee, Hyangsu ¹

¹한양대학교

Candidate

ABSTRACT

The purpose of this essay is to study the hegemony of German symphony which has been established through the concept of ‘universality’ and to newly illuminate the perspective to see ‘nationalist composers’ from the anti-hegemonic point of view. The reception of symphony in 19th century shows the nationalistic character, and this character is complicatedly connected with social, cultural, and political situations. This essay points out that the hegemony related with the reception of symphony genre shows the regional differentiation being concentrated in the German language countries. In this essay, through the nationalist approach to symphony genre, the following issues are closely investigated. Firstly, what kind of musical and non-musical elements were working when symphony genre was established as German national tradition. This can be explained by tracing the process of the formation of canon, of which the various social and cultural backgrounds which transformed the symphonies of Beethoven are especially significant. Secondly, how we could find the musical elements which are characteristic of what is German from the internal part of symphony genre. This is fully accountable by nationalistic point of view because German music is chosen by not stylistic difference but by distinction of genre. The discussion about German hegemony in the process of reception of symphony genre could be extendable to the view-point on the nationalist composers. As known through the term, ‘nationalist composers’ their music, especially in relation to symphony genre, has been established as the others separated from universality. In this essay, it is argued that the basis of this separation as others is not only the territorial separation by German hegemony but also that by international, national, and individual aspects of ‘nationalist composers’ symphonies.

KEYWORDS

German nationalism, symphony, musical style, nationalist composers, canon

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Journal of the Korean Society for Musicology 2024 KCI Impact Factor : 0.64

German Hegemony in Symphony Genre of the 19th century and Symphony of Nationalist as the Others

ABSTRACT

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Citation status

* References for papers published after 2024 are currently being built.

Journal of the Korean Society for Musicology 2024 KCI Impact Factor : 0.64

German Hegemony in Symphony Genre of the 19th century and Symphony of Nationalist as the Others

ABSTRACT

KEYWORDS

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