5. Music of the nations

Looking at the contentious history of the Eurovision Song Contest, ‘Music of the nations’ considers the complex relationship between world music, nationalism, and the modern nation-state. In her winning song in 2016, ‘1944’, the Ukrainian entry Jamala switched from English to Crimean Tatar, a political reference to the Russian annexation of Ukraine. Zimbabwe changed its anthem from ‘God Save the Queen’ to an African song via ‘Ode to Joy.’ ‘HaTikva’ went from a chorus at an international congress to the Israeli national anthem. There are also supra- or international anthems like the ‘Internationale’, a standard of the socialist movement worldwide.

The National Origins of the Creative Work of Eugene Ysaye and the Influence of Belgian Artists in the Formation of a Distinct Performing and Composing Style

The article examines the work of a prominent Belgian violinist and composer, E. Ysaÿe, as a representative of Belgian national culture in several different aspects: the incorporation of folklore in his music, his expertise of the Belgian violin school, his life as a follower of C. Franсk, and his role in the wide field of Belgium's artistic and cultural traditions. Folklore is manifested through modal combinations, biphonic and polyphonic layers, the use of parallelisms, in which the author unites anhemitonic and chromatic scales, tone-splitting, etc. E. Ysaye, demonstrates ethnic intensity in ―Village Dance‖, ―Aurora‖ from Sonata No. 5, the Finale from Sonata No. 1 , Mazurkas, Sonatas for 2 solo violins, the symphonic work "Nostalgia", and the opera "Pierre Rudocop". Сomposer is inspired by folk techniques, methods of sound production, types of bowings, rubato, and the use of primitive forms of polyphony- bourdon and ostinato, which are presented in a striking variety by Ysaÿe. Тhe enthusiasm for playing violin folk music, obviously contributed to the creation of a new modern school of violin technique in the twentieth century. In the traditions of Belgian professional music, nationalism manifested itself in the revival of choral music, re-examining the polyphonic techniques of ancient masters (under the influence of C. Franck), in particular, the Franco-Flemish school and Belgian organ school use canonic-imitation, allusions of linear thinking, and medieval mensural notation (2nd movement of Sonata No. 2). The artist also contributed to the growth of Belgian music in the Wallonie culture, of which the famous representative, C. Franck, was born, and his devoted student, E. Ysaÿe, became the author of the only opera in the Wallonie language, "Pierre-Rudokop". Interesting and fruitful are E. Ysaÿe’s connections with the Belgian symbolists M. Metterlink and E. Verharn, evident through the lyrics of the poetic cycle in the ―London‖ trio. In the realm of violin performance - as the direct follower and disciple of the prominent violinist H.Vieuxtemps. Recently discovered violin concertos of the composer, the first of which is dedicated to H.Vieuxtemps, as well as other original works, and grandiose performances, attest to Eugene Ysaÿe’s striking representation of the Belgian national culture.

CULTURAL POLITICS IN THE POST-COLONY: MUSIC, NATIONALISM AND STATISM IN MALI, 1964–75

ABSTRACTThis article examines the shifting experience of national belonging and state patronage at a crucial juncture in Mali's post-colonial history, the ten-year period that marked the end of the country's First Republic (1960–8) and the beginning of its Second Republic (1968–91). My focus is on the contested politics of culture that characterized this period, elucidated through the experiences and expressions of two popular dance bands, Las Maravillas de Mali and Les Ambassadeurs du Motel. By following the post-colonial careers of Las Maravillas and Les Ambassadeurs I explore social and musical encounters with national community and state authority from which broader questions of political sovereignty and accountability emerge.