- The Oxford Handbook of Popular Music in the Nordic Countries
- List of Figures
- List of Tables
- List of Contributors
- Introduction: Music in a Globalizing Region
- Musical Borealism: Nordic Music and European History
- Nordic Modernity and the Structure of the Musical Landscape
- Inclusive Popular Music Education?
- Roots, Routes, and Cosmopolitanism: David Lindley Meets Harding Hank
- From the Faroes to the World Stage
- Christian Metal and the Translocal North
- Music and Landscape in Iceland
- Music and Environmentalism in Iceland
- A Metahistorical Inquiry into Historiography of Nordic Popular Music
- Echoes of the Colonial Past in Discourse on North Atlantic Popular Music
- Swedish Prog Rock and the Search for a Timeless Utopia
- Trajectories of Karelian Music After the Cold War
- Music in the Aftermath of the 2011 Utøya Massacre
- Aspirations, Global Futures, and Lessons from Sámi Popular Music for the Twenty-First Century
- Masculinity, Race, and Transculturalism in a Norwegian Context
- Hip Hop as Public Pedagogy
- Urban Music and the Complex Identities of “New Nationals” in Scandinavia
- Rap, Reggae, and White Minoritization
- Sámi Festivals and Indigenous Sovereignty
- Digitally Mediated Identity in the Cases of Two Sámi Artists
- Name Index
- Subject Index
Abstract and Keywords
This chapter is an analysis of the music performed at the memorial ceremony following the 2011 massacre where national extremist Anders Breivik killed 77 people, most of them young delegates at a summer camp of the Labour Party. Following an introductory discussion of theory of music, emotion, and nationhood, the chapter analysis takes the reader deep into a moment of emotional nationalism, just one month after the attack, providing a detailed description of the repertoire, production, and the performances at the ceremony. Knudsen argues that the ceremony expressed desires to rebuild national community and tolerance.
Faculty of Education and International Studies, Oslo and Akershus University College
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