STEREOTYPING THE OTHER: “ORIENTALISM”
So far in this chapter we have observed the tensions between the universal and the particular, and between the nationalistic and the exotic, from the perspective of expatriated composers highly conscious of themselves as outsiders, presenting a sense of self that is to a large extent constructed out of a sense of difference. It is unlikely that Chopin would have written so many mazurkas, or Gottschalk his “Louisiana trilogy,” had they stayed at home all their lives. There are, of course, other perspectives. There is the domestic or patriotic national consciousness that we have observed by now in many romantic artists, in which the assertion of national identity serves a different social purpose, emphasizing community rather than peculiarity, sameness rather than difference, social cohesion rather than social division.
- Citation (MLA):
- Richard Taruskin. "Chapter 7 Self and Other." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 6 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-007014.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 7 Self and Other. In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 6 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-007014.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 7 Self and Other." In Music in the Nineteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 6 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-007014.xml