- The Oxford Handbook of the New Cultural History of Music
- Introduction: Defining the New Cultural History of Music, Its Origins, Methodologies, and Lines of Inquiry
- Gender, Performativity, and Allusion in Medieval Services for the Consecration of Virgins
- Music, Violence, and the Stakes of Listening
- Music and Pain
- “The Road into the Open”: From Narrative Closure to the Endless Performance of Subjectivity in Mahler and Freud at the Turn of the Century
- Understanding Schoenberg as Christ
- The Strange Landscape of Middles
- The Genre of National Opera in a European Comparative Perspective
- Cosmopolitan, National, and Regional Identities in Eighteenth-Century European Musical Life
- Mendelssohn on the Road: Music, Travel, and the Anglo-German Symbiosis
- “Shooting the Keys”: Musical Horseplay and High Culture
- Yvette Guilbert and the Revaluation of the <i>Chanson Populaire</i> and <i>Chanson Ancienne</i> during the Third Republic, 1889–1914
- Remembrance of Jazz Past: Sidney Bechet in France
- An Evening at the Opera in Seventeenth-Century Venice
- Josquin des Prez, Renaissance Historiography, and the Cultures of Print
- From “the Voice of the Maréchal” to Musique Concrète: Pierre Schaeffer and the Case for Cultural History
- A Matter of Style: State Sacrificial Music and Cultural-Political Discourse in Southern Song China (1127–1279)
- <i>Ernani</i> Hats: Italian Opera as a Repertoire of Political Symbols during the Risorgimento
- Modalities of National Identity: Sibelius Builds a First Symphony
- Beethoven, Napoleon, and Political Romanticism
- Translating Herder Translating: Cultural Translation and the Making of Modernity
- The Eye of the Needle: Music as History after the Age of Recording
- Afterword: Whose Culture? Whose History? Whose Music?
Abstract and Keywords
This article discusses Jean Sibelius, a Finn composer who emerged during the golden age of Finnish nationalist art. It first studies the gap between the elite-urban European art and Finnish-revered originary culture. Preserved literary and musical collections, the concept of strategic triangulation, and the construction of Sibelius' first symphony are discussed. The article also proposes a methodological model that is generalizable to the study of other art-music inflections of nationalism in nineteenth- and early twentieth-century music.
James Hepokoski has taught at Oberlin College Conservatory (1978–1988), at the University of Minnesota–Twin Cities (1988–1999), and is currently professor of musicology at Yale University. He was the coeditor of the musicological journal 19-Century Music from 1992 to 2005. His publications include “Beyond the Sonata Principle,” Journal of the American Musicological Society 55 (2002) and Elements of Sonata Theory (2006), which was the recipient of the Society for Music Theory's 2008 Wallace Berry Award.
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