Music as a Social Mobiliser through the Expression of Cultural Identity: Estonian Forms as an Ideal.
JOHNSON, EMILY (2001)
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JOHNSON, EMILY
2001
Sosiologia - Sociology
Yhteiskuntatieteellinen tiedekunta - Faculty of Social Sciences
Hyväksymispäivämäärä
2001-12-11Sisällysluettelo
ABSTRACT 2 TABLE OF CONTENTS 4 1. INTRODUCTION 5 2. WHY MUSIC, NATIONALISM AND SOCIAL MOVEMENTS? 8 3. THEORETICAL BASIS 12 3.1. Sociology of Music 13 3.2. Music and Nationalism 15 3.3. Social Movements 19 3.4. Social Movements in Estonia 21 3.5. Subcultures 23 3.6. Mass Movements vs. Dissidence 26 3.7. Nationalist Movements 29 4. CULTURE AND IDENTITY 35 5. ESTONIAN PRESERVATION OF CULTURE AND IDENTITY 38 6. FUNCTIONS OF MUSIC 41 7. SONGS AND FESTIVALS 45 8. REGILAUL AS ESTONIAN NATIONAL MUSIC 48 9. CONCLUSIONS 52 BIBLIOGRAPHY 56
Tiivistelmä
The topic of this Master's thesis concerns the use of music as a force of social mobilisation and as an expression of cultural identity. Estonian cultural identity and the expression and preservation of this identity throughout the Soviet period in Estonia through music, particularly songs, are expressed as an ideal way for a small nation to preserve its cultural heritage. The theories, which are discussed here, revolve around three major points: social movements, culture and identity, and music.
A body of people in a nation with a common territory, culture, language, and history need to develop a consciousness of unity and identity. This was the driving force behind the developing sense of national identity among many European nations, especially among the intellectuals of the late 19th century. Finland and Hungary both experienced national awakenings expressed in musical form and derived inspiration and material from folklore and traditional stories. The Estonian national awakening developed in the shadow of the Russian Empire as a direct result of the covert and unpopular policies of Russification.
Different forms of music such as folk, popular, and art music can be defined, and in the case of Estonia, not only music, but also the collective and social functions of that music are particularly important. A principle function of song is to aid in creating an attitude. Songs can evoke moods of nostalgia, sentiment, group feelings, solidarity, etc. In the case of Estonia, the singing traditions are a type of folklorist phenomenon. Estonians have a long and deep tradition with the act of collective singing.
Estonian music has been influenced by both German and Russian musical traditions. This leads to a look at regilaul, or runic song, as the Estonian form of the musical format of runosong, which takes the form meter similar to that of the Kalevala, lines of eight syllables with melodies following patterns of regular, common speech. Using rhythms, melodies, and harmonies akin to the regilaul format, a subtle and unnoticeable communication among Estonians could be practised without state interference. The argument is then made that the nature of the runic song, a truly Estonian national music form, is itself the reason that the use of music as a social mobiliser is an Estonian ideal.
A body of people in a nation with a common territory, culture, language, and history need to develop a consciousness of unity and identity. This was the driving force behind the developing sense of national identity among many European nations, especially among the intellectuals of the late 19th century. Finland and Hungary both experienced national awakenings expressed in musical form and derived inspiration and material from folklore and traditional stories. The Estonian national awakening developed in the shadow of the Russian Empire as a direct result of the covert and unpopular policies of Russification.
Different forms of music such as folk, popular, and art music can be defined, and in the case of Estonia, not only music, but also the collective and social functions of that music are particularly important. A principle function of song is to aid in creating an attitude. Songs can evoke moods of nostalgia, sentiment, group feelings, solidarity, etc. In the case of Estonia, the singing traditions are a type of folklorist phenomenon. Estonians have a long and deep tradition with the act of collective singing.
Estonian music has been influenced by both German and Russian musical traditions. This leads to a look at regilaul, or runic song, as the Estonian form of the musical format of runosong, which takes the form meter similar to that of the Kalevala, lines of eight syllables with melodies following patterns of regular, common speech. Using rhythms, melodies, and harmonies akin to the regilaul format, a subtle and unnoticeable communication among Estonians could be practised without state interference. The argument is then made that the nature of the runic song, a truly Estonian national music form, is itself the reason that the use of music as a social mobiliser is an Estonian ideal.