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05.09.2020 09:47 Alter: 50 days

Music and Nationalism

Call for Papers

Theme: Music and Nationalism
Type: 3rd Global Inclusive Interdisciplinary Conference
Institution: Progressive Connexions
Location: Vienna (Austria)
Date: 16.–17.4.2021
Deadline: 25.9.2020

Music is commonly regarded as a universal language, and yet it is
also through music that the fiercest of nationalistic sentiments and
inspirations for protest and rebellion have been expressed.

As a unifying force, music has frequently been used in the quest to
establish a national identity as well as to emphasise social and
political beliefs and promote particular agendas. But in doing so,
music also establishes 'others' who do not belong to the collective.
In light of political scientist and historian Benedict Anderson's
characterisation of nationalism as an imagined community, it is
hardly surprising that music, with its extraordinary power over the
human imagination, should play such an integral part in the way
nationalism is constructed and understood.

The nineteenth century saw a development in the quest by many
composers for a spirit of nationalism in their music, particularly
those with an interest in folk song, and/or a passion for independent
identities. The modern corollary is that national anthems are still
sung at the beginning of mass public events, to recognise achievement
in competitive sports, such as the Olympic Games, at important civic
occasions, thereby signifying the inextricable bond between music and

But why does music have the capacity to direct the human imagination
in this way? What does a nation sound like - or, to put it another
way, why does a particular musical piece conjure up feelings of
belonging to a particular nation? What aspects of the nation and its
people are highlighted and what aspects are ignored by nationalistic
music? How does nationalism influence the reception of music? Does
being part of a particular national background shape an individual's
sense of music? How is music used against nationalistic impulses, and
for protests generally? How can music be used to provide education
about identities, nations, and causes? In what way does music still
support the construction of national identity even when it is not
deliberately conceived for that purpose? What happens when the
nationalistic meaning of music is contested and reworked? Does it
still make sense to think in terms of music and nationalism in the
age of globalism? What does the future hold for the connection
between music and nationalism?

The Music and Nationalism event provides a platform for exploring
these questions through inter-disciplinary dialogue and interactive

Key Topics

Key topics, themes and issues for discussion may include, but are
definitely not limited to:

- Music and nationalism in a global context
- Music, nationalism and New Europe
- 'Rebel' /protest songs
- National Anthems (composition, performance, context)
- Music and propaganda
- Folk Songs and nationalism
- The Place of nationalism in the musical canon
- Composers and performers who are associated with nationalism
- Music theory perspectives
- Representations of music and nationalism in written texts,
 encompassing song lyrics and beyond
- National imagination and musical tastes, e.g. via the Eurovision
 Song Contest
- Nationalism and the musical canon
- Music, nationalism and diasporas
- Nationalism and opera
- The Folk Song repertoire
- Music, nationalism and art
- Popular music and nationalism, e.g. punk and New Wave
- Physiological/psychological perspectives on connections between
 music and nationalism
- Intellectual property and financial considerations associated with
 nationalist music
- Pedagogy issues: teaching pupils the music of national identity

What To Send

The aim of this interdisciplinary conference and collaborative
networking event is to bring people together and encourage creative
conversations in the context of a variety of formats: papers,
seminars, workshops, storytelling, performances, poster
presentations, panels, q and a's, round-tables etc.

300 word proposals, presentations, abstracts and other forms of
contribution and participation should be submitted by Friday 25th
September 2020. Other forms of participation should be discussed in
advance with the Organising Chair.

All submissions will be minimally double reviewed, under anonymous
(blind) conditions, by a global panel drawn from members of the
Project Development Team and the Advisory Board. In practice our
procedures usually entail that by the time a proposal is accepted, it
will have been triple and quadruple reviewed.

You will be notified of the panel's decision by Friday 9th October

If your submission is accepted for the conference, a full draft of
your contribution should be submitted by Friday 12th February 2021.

Abstracts and proposals may be in Word, PDF, RTF or Notepad formats
with the following information and in this order: a) author(s), b)
affiliation as you would like it to appear in the programme, c) email
address, d) title of proposal, e) body of proposal, f) up to 10

E-mails should be entitled: Music and Nationalism Submission.

Where To Send

Abstracts should be submitted simultaneously to the Organising Chair
and the Project Administrator:

Marie Bennett:
Project Administrator:


Progressive Connexions believes it is a mark of personal courtesy and
professional respect to your colleagues that all delegates should
attend for the full duration of the meeting. If you are unable to
make this commitment, please do not submit an abstract or proposal
for presentation.

Please note: Progressive Connexions is a not-for-profit network and
we are not in a position to be able to assist with conference travel
or subsistence, nor can we offer discounts off published rates and

Please send all enquiries to:

For fruther details and information please visit the conference web page: