- 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
The chapter develops an original concept of musical borealism, drawing from literatures on European music and cultural history and from orientalism. The chapter looks beyond the simple concept of borealism as an exotic gaze by opening up horizons and offering a series of nuanced distinctions. Basic categories discussed are Nordic myth, Nordic folk and popular music, Nordic global music, Nordic ultra-national music, and non-Nordic Nordic manifestations. The chapter expands the historical, spatial, and experiential dimensions of musical borealism and creates a historical foundation for the remaining chapters in the handbook.
Philip Bohlman serves as Mary Werkman Distinguished Service Professor of Music and the Humanities at the University of Chicago, where he also serves on the Jewish studies faculty. His published works include Jewish Music and Modernity (2008), The Music of European Nationalism: Cultural Identity and Modern History (2d ed., 2009), and World Music: A Very Short Introduction (2002). A pianist, he is also the artistic director of the New Budapest Orpheum Society, a Jewish cabaret ensemble in Chicago.
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