The Nordic Ingredient

Custodis, MichaelProf. Dr. Michael Custodis ist Professor für Musik der Gegenwart und Systematische Musikwissenschaft an der Westfälischen Wilhelms-Universität Münster. Neben der AuseinanderSetzung mit NS-Kontinuitäten im deutschen Nachkriegsmusikleben arbeitet er u.a. über musiksoziologische Themen, Musik des 20. und 21. Jahrhunderts sowie Wechselwirkungen zwischen "populärer" und "klassischer" Musik.

Geiger, Friedrich
Prof. Dr. Friedrich Geiger ist Professor für Historische Musikwissenschaft an der Hochschule für Musik und Theater München. Wesentliche Arbeitsschwerpunkte umfassen die Bereiche Musik in Diktaturen, Antikenrezeption in der Musik sowie die Geographie der Musikgeschichte sowie Musikgeschichte.

Mattes, Arnulf Christian
Arnulf Christian Mattes is Associated Professor of Musicology and leader of the Grieg Research Centre at the University of Bergen. He is project partner in the Research cooperation "Nordic Music" - Resistance, Persecution, Collaboration, and Reintegration in Norway's Music Life 1930-1960.

Rupprecht, Ina
Ina Rupprecht is research associate in the project 'Nordic Music Politics - The German Dominance of Music in Norway 1930-1945', led by Michael Custodis at the Department of Musicology, University of Münster.

Custodis, Michael
Prof. Dr. Michael Custodis ist Professor für Musik der Gegenwart und Systematische Musikwissenschaft an der Westfälischen Wilhelms-Universität Münster. Neben der AuseinanderSetzung mit NS-Kontinuitäten im deutschen Nachkriegsmusikleben arbeitet er u.a. über musiksoziologische Themen, Musik des 20. und 21. Jahrhunderts sowie Wechselwirkungen zwischen "populärer" und "klassischer" Musik.

Mattes, Arnulf Christian
Arnulf Christian Mattes is Associated Professor of Musicology and leader of the Grieg Research Centre at the University of Bergen. He is project partner in the Research cooperation "Nordic Music" - Resistance, Persecution, Collaboration, and Reintegration in Norway's Music Life 1930-1960.

Notions of the 'Nordic' have always been an issue in Norway's national identity building, both before and after it became a sovereign state in 1905.Accordingly, Norwegian music has expressed a sense of ambivalence towards being conceived as 'Nordic' from the outside: A strong sense of 'Norwegianness' (forged during the heroic age of cultural nation-building in the 19th century) was challenged by the advent of new, nationalistic currents in the 1930s, which used notions of the Nordic as a political weapon.This book shows how music expresses affirmation and ambivalence towards the 'Nordic' as an ingredient of Norwegian national identity across musical genres. Further, it explores the contingencies of national music and the dramatic changes in 20th-century European political history. At the same time, it sheds new light on the difference between musical nationalism and national music.

Notions of the "Nordic" have always been an issue in Norway's national identity building, both before and after it bacame a sovereign state in 1905. Accordingly, Norwegian music has expressed a sense af ambivalence towards being conceived as "Nordic" from the outside: A strong sense of "Norwegianness" was challenged by the advent of new, nationalistic currents in the 1930s, which used notions of the Nordic as a political weapon. This book shows how music expresses affirmation and ambivalence towards the "Nordci" across musical genres. Further, it explores the contingencies of national music and the dramatic changes in 20th-century European political history.