Abstract
Having explored the different points of intersection between the careers of Grieg and his contemporaries, this chapter focuses on the practices of Grainger and MacDowell in America. The key point of entry is the theme of hybridity, which functioned as a critical category and a set of strategies for musicians as it had for authors. It also demonstrates how Grainger and MacDowell developed circuitous notions of progress through their mutual fascination with Nordic sagas. Consequently, by tracing their procedures for combining various elements past and present, local and international, this chapter uncovers how both composers developed similar attitudes toward modernism, which were important factors in shaping their conceptualization of the temporal dimension of cosmopolitanism.
Portions of this chapter originally appeared in “In Search of Hybridity: Grainger, MacDowell and their Cosmopolitan Imagination,” in 19th-Century Music Review. Special edition: “Grainger and the Cosmopolitan Imagination,” ed. Ryan Weber. (©) Cambridge University Press 2018. Reprinted with permission.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Notes
- 1.
Reprinted in Grainger on Music, 131–40.
- 2.
Percy Grainger, Grainger on Music, eds. Malcolm Gillies and David Pear (Oxford: Oxford University Press, 1999), 139.
- 3.
Grainger’s veneration of Grieg continued posthumously through a series of articles that he published over several decades. See “Grieg: Nationalist and Cosmopolitan,” in Grainger on Music, 318–37.
- 4.
Grainger on Music, 134.
- 5.
Grainger on Music, 135.
- 6.
In this manner, I am adopting the approach employed by Jakob Lothe in his chapter “Short Fiction as Estrangement: From Franz Kafka to Tarjei Vesaas and Kjell Askildsen,” in European and Nordic Modernisms, ed. Mats Jansson, Jakob Lothe, and Hannu Riikonen (London: Norvik Press, 2004), 97–115. As Lothe points out, “influence is exceedingly difficult to measure and evaluate. Even though the concept of intertextuality can also appear to be impossibly imprecise, it invites the critic and reader to compare authors and texts by considering what kind of dialogue (if any) obtains between them (107).” In musicological spheres, Robert S. Hatten has long argued for the utility of this approach since the release of his article, “The Place of Intertextuality in Music Studies,” The American Journal of Semiotics 3/5 (1985): 69–82.
- 7.
The type of analysis I am advocating here can be found in The Cosmopolitan Reader, ed. Garrett Wallace Brown and David Held (Malden: Polity Press, 2010). See especially Martha C. Nussbaum’s entry, “Patriotism and Cosmopolitanism,” 155–62, for an historical survey of cosmopolitanism; Kok-Chor Tan’s entry on “Nationalism and Cosmopolitanism,” 176–90, for a discussion of how national and cosmopolitan forces have been mediated in different societies; and Jacques Derrida’s “On Cosmopolitanism,” 414–22, for a discussion of how the experience of cosmopolitanism shapes contemporary identities.
- 8.
Other pertinent examples can be found in Transatlantic Literary Studies: A Reader, ed. Susan Manning and Andrew Taylor (Baltimore: The Johns Hopkins University Press, 2007). In Manning and Taylor’s entry, “The National and Cosmopolitanism: Introduction,” 17–22, they outline an important dimension that is applicable to the composers featured in this study:
By focusing on the Atlantic, with its emphasis on mobility and migration, Transatlantic Studies challenges the security of the static and bordered spaces of all kinds, none more so than the defining authority of the nation. Rethinking the geography in which literary study is undertaken, the critics selected here develop a scholarly practice that is relational rather than territorial, showing how the diverse networks of travel, exchange and contact entail new and diverse ways of imagining space, place, and identity. (18)
- 9.
Leonora Saavedra, “Carlos Chávez’s Polysemic Style: Constructing the National, Seeking the Cosmopolitan,” Journal of the American Musicological Society 68/1 (Spring 2015): 100.
- 10.
“Carlos Chávez’s Polysemic Style,” 104.
- 11.
Here again of evoke the critical methodology of Amanda Anderson in The Powers of Distance: Cosmopolitanism and the Cultivation of Detachment (Princeton: Princeton University Press, 2001), 6. See also Anderson’s article, “Cosmopolitanism, Universalism, and the Divided Legacies of Modernity” in Cosmopolitics: Thinking and Feeling beyond the Nation, ed. Pheng Cheah and Bruce Robbins (Minneapolis: University of Minnesota Press, 1998), 265–90. In addition, Pheng Cheah’s article in the same volume, “Given Culture: Rethinking Cosmopolitical Freedom in Transnationalism,” 290–328, explores the various ways in which hybridity serves as “cultural agency.”
- 12.
See E. Douglas Bomberger’s discussion in MacDowell (Oxford: Oxford University Press, 2013), 24–49.
- 13.
See “Chronology” in Grainger on Music, ix–xiv.
- 14.
For a detailed discussion of Grainger’s activities in London at the turn of the twentieth century, see John Bird, Percy Grainger (London: Faber and Faber, 1976), 63–152, and Stephen Banfield, “Grainger the Edwardian” Musicology Australia 37/2 (2015): 148–66.
- 15.
Grainger on Music, 133.
- 16.
Joseph E. Morgan offers a thorough analysis in his study Carl Maria von Weber: Oberon and Cosmopolitanism in the Early German Romantic (Lanham: Rowman & Littlefield, 2014).
- 17.
“Carlos Chávez’s Polysemic Style,” 104.
- 18.
Sarah Collins and Simon Perry, “‘The Beauty of Bravery’: Alternative Modernisms, De-Historicizing Grainger,” in Grainger the Modernist, ed. Suzanne Robinson and Kay Dreyfus (Surrey: Ashgate, 2015), 29. See also the Introduction where I discuss their findings in relation to the three musicians in this volume.
- 19.
See Chap. 6, “Old Worlds for New” in Wilfrid Mellers, Percy Grainger (Oxford: Oxford University Press, 1992), 101–20.
- 20.
For an important discussion of Grainger’s concept of race, which functioned to unite American and Nordic cultures, see Malcolm Gillies and David Pear, “Percy Grainger and American Nordicism,” in Western Music and Race, ed. Julie Brown (Cambridge: Cambridge University Press, 2007), 115–24.
- 21.
Dana Gooley, “Cosmopolitanism in the Age of Nationalism, 1848–1914,” Journal of the American Musicological Society 66/2 (Summer 2013): 523–24.
- 22.
See also “Daniel Gregory Mason and the Rhetoric of Cosmopolitanism in America” in Chap. 5.
- 23.
“Cosmopolitanism in the Age of Nationalism,” 525–26.
- 24.
Oberon and Cosmopolitanism, 28.
- 25.
Ibid., 51–76.
- 26.
Note especially Morgan’s analysis of Euryanthe, 96–112.
- 27.
Ibid., 278.
- 28.
Ibid., 138.
- 29.
Ibid., 83.
- 30.
Quoted and expanded in Bomberger, MacDowell, 195–96.
- 31.
Grainger on Music, 250.
- 32.
MacDowell, 183.
- 33.
Grainger on Music, 78.
- 34.
Grainger on Music, 344.
- 35.
Ibid., 343.
- 36.
This critical view of cosmopolitanism is explored in Jennie Germann Molz, “Cosmopolitanism and Consumption” in The Ashgate Research Companion to Cosmopolitanism, ed. by Maria Rovisco and Magdalena Nowicka (Surrey: Ashgate, 2011), 33–52.
- 37.
Graham Barwell, “A ‘Treat Equal to Wagner’: Grainger’s Interactions with the Music and Culture of Polynesia” in Grainger the Modernist, ed. Suzanne Robinson and Kay Dreyfus (Surrey: Ashgate, 2015), 71. For an important historic backdrop, see Edward Burnett Tylor, Primitive Culture volume 1 (New York: Dover, 2016).
- 38.
As I noted earlier, Tanya Agathocleous traces internal contradictions in the works of nineteenth-century writers, the tensions between “positive” and “negative” usages of cosmopolitanism, and even the process by which “modernists construct imaginative communities that emphatically reject the universalism for which cosmopolitanism is often indicated” [Urban Realism and the Cosmopolitan Imagination in the 19th Century (Cambridge: Cambridge University Press, 2011), 172].
- 39.
I explore this aspect of Grainger’s cosmopolitan imagination in greater detail in Chap. 7.
- 40.
See Chap. 3 where I identify these procedures in Grieg’s work. Peter Tregear also notes how “the idea that a piano accompaniment could be composed in such a way as to intervene and comment on the poetic meanings’ stems from the nineteenth-century tradition, but ‘the obvious difference between Romantic-era art song and Grainger’s folk song arrangements is … their respective relationship to the new’” [“Giving Voice to the ‘Painfulness of Human Life’: Grainger’s Folk Song Settings and Musical Irony” in Grainger the Modernist, 100].
- 41.
Grainger, “The World Music of To-morrow,” in Grainger on Music, 85. Grainger’s inclusion of Stravinsky in this roster is intriguing, for Stravinsky famously disavowed the use of folk music in high art. The political dimensions of this complicated stance have been discussed in Richard Taruskin, Stravinsky and the Russian Traditions (Berkeley: University of California Press, 1996). Taruskin also discusses the antagonisms between Stravinsky and Bartók—two influential figures for Grainger—in “Why You Cannot Leave Bartók Out,” Studia Musicologica Academiae Scientiarum Hungaricae, Proceedings of the International Conference Held by the Bartók Archives (22–24 March 2006): 265–77. Grainger may have been emulating Stravinsky’s stance more closely than he would have imagined in his own ability to publically support one ideology while musically offering a very different stance. This is especially true when it came to acknowledging his own sources—something Grainger consciously obfuscated in order to emphasize the influence of Nordic elements in his art.
- 42.
Richard Crawford, “Edward MacDowell: Musical Nationalism and an American Tone Poet,” Journal of the American Musicological Society 49/3 (Autumn 1996): 545. Here Crawford cites MacDowell’s Critical and Historical Essays: Lectures Delivered at Columbia University, ed. W. J. Baltzell (Boston: Arthur P. Schmidt, 1912), reprinted with an introduction by Irving Lowens (New York: Da Capo Press, 1969). See also Francis Brancaleone’s analysis of MacDowell’s famed Indian Suite, Op. 48 for orchestra in “Edward MacDowell and Indian Motives,” American Music 7/4 (Winter 1989): 359–81.
- 43.
While I focus upon the connection to Grieg in this study, it is important to note that the web of aesthetic influences was wide for both composers. Even more, Grainger was always the master at encouraging his audiences to see only the specific influences that he wanted to acknowledge. This meant that other prominent figures like Ferruccio Busoni were purposely left out of his primary account of the period. Nonetheless, Andrew Hugill has noted the significance of Busoni’s effect on Grainger starting in 1903 and culminating in his later publication, Sketch for a New Aesthetic of Music (1911) [“Percy Grainger: A Pioneer of Electronic Music,” Grainger the Modernist, 241–44]. In a similar fashion, Bomberger has noted MacDowell’s jealousy over Busoni’s reception in MacDowell, 173. Busoni’s popularity in America clearly was a source of anxiety for both figures and perhaps this uneasiness encouraged a style of cosmopolitanism that outwardly fixated on the successes of Grieg.
- 44.
Grainger on Music, 136.
- 45.
MacDowell, 14–23.
- 46.
Ibid., 90. See also Bomberger’s discussion of how this outsider status brought him closer to his friend George Templeton Strong Jr. (1856–1948) in MacDowell, 106–22.
- 47.
See Matthew Gelbart, The Invention of “Folk Music” and “Art Music”: Emerging Categories from Ossian to Wagner (Cambridge: Cambridge University Press, 2007).
- 48.
Nikos Papastergiadis, Cosmopolitanism and Culture (Cambridge, UK: Polity Press, 2012), 196.
- 49.
Cosmopolitanism and Culture, 117.
- 50.
See also Grieg’s letters to Grainger (1906–1907) in Edvard Grieg: Letters to Colleagues and Friends, ed. Finn Benestad, trans. William H. Halverson (Columbus: Peer Gynt Press, 2000), 263–70.
- 51.
See John Whiteoak, “Minstrelsy, Ragtime, ‘Improvisatory Music’ and Percy Grainger’s ‘Unwritten Music,’” in Grainger the Modernist, 139–61. As evidence of the wide-reaching influences that found their way into Grainger’s other works in the early twentieth century, the author asserts that he “engaged directly with popular modernity in 1901 and 1903 in basing ragtime experiments on Tin Pan Alley and Broadway successes and he even references mainstream popular music instrumental sounds of the day” (160).
- 52.
When Grieg was not functioning as the lone surrogate for Nordic identity, Grainger looked to other figures such as the Danish folk song collector Evald Tang Kristensen (1843–1929). See Graham Freeman’s discussion in “Grainger and the Performativity of Folk Song,” Grainger the Modernist, 33–54.
- 53.
Grainger on Music, 139.
- 54.
Gerard Delanty, The Cosmopolitan Imagination: The Renewal of Critical Social Theory (Cambridge: Cambridge University Press, 2009), 177. See also Papastergiadis’s discussion of this volume in Cosmopolitanism and Culture, 144–46.
- 55.
David A. Hollinger, “The New Cosmopolitanism” in Conceiving Cosmopolitanism: Theory, Context, and Practice, ed. Steven Vertovec and Robin Cohen (Oxford: Oxford University Press, 2002), 227–39.
- 56.
Ibid., 231.
- 57.
Grainger on Music, 329.
- 58.
Richard Crawford, America’s Musical Life: A History (New York: W. W. Norton, 2001), 386.
- 59.
Grainger on Music, 44. Finck was also the author of works on MacDowell.
- 60.
See, for instance, Grainger’s comments on “A Flawlessly Nordic Way of Living (1933)” in Self-Portrait of Percy Grainger, ed. Malcolm Gillies, David Pear, and Mark Carroll (Oxford: Oxford University Press, 2006), 136–38.
- 61.
Grainger, Letter to D. C. Parker, 28th August 1916, in The All-Round Man: Selected Letters of Percy Grainger, 1914–1961, eds. Malcolm Gillies and David Pear (Oxford: Clarendon Press, 1994), 26.
- 62.
Ibid., 27.
- 63.
Ibid., 28–29.
- 64.
Quoted and expanded in Bomberger, MacDowell, 230.
- 65.
Ibid., 231.
- 66.
Grainger, Letter to Rose Grainger, 12 March 1919, in The All-Round Man, 44.
- 67.
Rebecca Walkowitz, Cosmopolitan Style: Modernism Beyond the Nation (New York: Columbia University Press, 2006), 11.
- 68.
This “spirit” was also embraced by their social structures, including Iceland’s history of communal governance without a monarchy. For a deeper examination of this history and its relationship to medieval sagas, see Nancy Marie Brown, Song of the Vikings: Snorri and the Making of Norse Myths (New York: St. Martin’s Griffin, 2012).
- 69.
Grainger on Music, 126.
- 70.
Ibid., 127.
- 71.
Grainger, Letter to Robin Legge, 6 May 1917, in The All-Round Man, 37.
- 72.
Ibid.
- 73.
Torsten Pettersson, “Why Did Some Authors Become Modernists? Early High Modernism and Multipolar Identities,” in European and Nordic Modernisms, eds. Mats Jansson, Jakob Lothe and Hannu Riikonen (London: Norvik Press, 2004), 25–36.
- 74.
Ibid., 32–33.
- 75.
Sarah Collins and Dana Gooley, “Music and the New Cosmopolitanism: Problems and Possibilities,” The Musical Quarterly 99/2 (Summer 2017): 160.
- 76.
Grainger on Music, 129.
- 77.
Critical and Historical Essays, 96–97.
- 78.
Cosmopolitan Vision, 81.
- 79.
Grainger, Letter to D. C. Parker, 26 April 1993, in The All-Round Man, 125.
- 80.
The Cosmopolitan Imagination, 79.
- 81.
Cosmopolitanism and Culture, 132–33.
- 82.
Grainger on Music, 78.
- 83.
Quoted in Bomberger, MacDowell, 196.
- 84.
As a further point of comparison, MacDowell’s admonishment of Dvořák’s music contrasted Daniel Gregory Mason’s appraisal (see Chap. 5).
- 85.
Quoted and expanded in Bomberger, MacDowell, 193.
- 86.
Bomberger traces MacDowell’s reception related to this issue in “International Tastes vs. American Opportunities,” MacDowell, 180–97.
- 87.
Grainger on Music, 82.
- 88.
MacDowell, 160–61.
- 89.
Cosmopolitanism and Culture, 131.
- 90.
MacDowell, 194–95. In the following chapter, I explore how this possibility of critical distance was inverted through Grainger’s forms of fabricated attachment.
- 91.
Neil Leonard, “Edward MacDowell and the Realists,” American Quarterly 18/2 (Summer 1966): 176. The connection between Garland, Howells, and the role of realism was noted even earlier by Benjamin T. Spencer in “The New Realism and a National Literature,” Proceedings of the Modern Language Association 56/4 (December 1941), 1116–32.
- 92.
Cosmopolitanism and Culture, 131.
- 93.
Grainger on Music, 332.
- 94.
See Benedict Anderson, “Nationalism, Identity, and the World-in-Motion: On the Logics of Seriality,” in Cosmopolitics: Thinking and Feeling beyond the Nation, ed. Pheng Cheah and Bruce Robbins (Minneapolis: University of Minnesota Press, 1998), 117–33.
- 95.
I also refer to Pheng Cheah’s commentary in his “Introduction Part II: The Cosmopolitical—Today,” in Cosmopolitics: Thinking and Feeling beyond the Nation, eds. Pheng Cheah and Bruce Robbins (Minneapolis: University of Minnesota Press, 1998), 20–22.
- 96.
James Clifford, “Mixed Feelings,” in Cosmopolitics: Thinking and Feeling beyond the Nation, ed. Pheng Cheah and Bruce Robbins (Minneapolis: University of Minnesota Press, 1998), 365.
- 97.
Kwame Appiah, “Cosmopolitan Patriots,” in Cosmopolitics: Thinking and Feeling beyond the Nation, ed. Pheng Cheah and Bruce Robbins (Minneapolis: University of Minnesota Press, 1998), 107.
- 98.
Tobias Boes, Formative Fictions: Nationalism, Cosmopolitanism, and the Bildungsroman (Ithaca: Cornell University Press, 2012), 167. Here Boes refers to the concept of Ernst Bloch, which is explored in relation to the reciprocal relationship between music and literature in his chapter, “Apocalipsis Cum Figuris: Thomas Mann and the Bildungsroman at the Ends of Time,” 155–81.
- 99.
Grainger on Music, 78.
- 100.
Georgina Born and David Hesmondhalgh, “Introduction: On Difference, Representation, and Appropriation in Music,” in Western Music and Its Others: Difference, Representation, and Appropriation in Music, eds. Georgina Born and David Hesmondhalgh (Berkeley: University of California Press, 2000), 19.
- 101.
The Saga of Grettir the Strong trans. G. H. Hight. Retrieved from http://sagadb.org/grettis_saga.en2.
- 102.
Regarding the stability of Icelandic and Nordic identities, see Robert Kellogg’s introduction, xv-lvii, in The Sagas of Icelanders (New York: Penguin Books, 2001).
- 103.
Grainger on Music, 139.
- 104.
Robert J. C. Young, Colonial Desire: Hybridity in Theory, Culture and Race (New York: Routledge, 1995), 26–27.
References
Agathocleous, Tanya. 2011. Urban Realism and the Cosmopolitan Imagination in the Nineteenth Century. Cambridge: Cambridge University Press.
Anderson, Amanda. 1998a. Cosmopolitanism, Universalism, and the Divided Legacies of Modernity. In Cosmopolitics: Thinking and Feeling Beyond the Nation, ed. Pheng Cheah and Bruce Robbins, 266–290. Minneapolis: University of Minnesota Press.
Anderson, Benedict. 1998b. Nationalism, Identity, and the World-in-Motion: On the Logics of Seriality. In Cosmopolitics: Thinking and Feeling Beyond the Nation, ed. Pheng Cheah and Bruce Robbins, 117–133. Minneapolis: University of Minnesota Press.
Anderson, Amanda. 2001. The Powers of Distance: Cosmopolitanism and the Cultivation of Detachment. Princeton: Princeton University Press.
Appiah, Kwame. 1998. Cosmopolitan Patriots. In Cosmopolitics: Thinking and Feeling Beyond the Nation, ed. Pheng Cheah and Bruce Robbins, 91–116. Minneapolis: University of Minnesota Press.
Banfield, Stephen. 2015. Grainger the Edwardian. Musicology Australia 37 (2): 148–166.
Barwell, Graham. 2015. A ‘Treat Equal to Wagner’: Grainger’s Interactions with the Music and Culture of Polynesia. In Grainger the Modernist, ed. Suzanne Robinson and Kay Dreyfus, 55–76. Surrey: Ashgate.
Bird, John. 1976. Percy Grainger. London: Faber and Faber.
Boes, Tobias. 2012. Formative Fictions: Nationalism, Cosmopolitanism, and the Bildungsroman. Ithaca: Cornell University Press.
Bomberger, E. Douglas. 2013. MacDowell. Oxford: Oxford University Press.
Born, Georgina, and David Hesmondhalgh. 2000. Introduction: On Difference, Representation, and Appropriation in Music. In Western Music and Its Others: Difference, Representation, and Appropriation in Music, ed. Georgina Born and David Hesmondhalgh, 1–58. Berkeley: University of California Press.
Brancaleone, Francis. 1989. Edward MacDowell and Indian Motives. American Music 7 (4): 359–381.
Brown, Nancy Marie. 2012. Song of the Vikings: Snorri and the Making of Norse Myths. New York: St. Martin’s Griffin.
Brown, Garrett Wallace, and David Held, eds. 2010. The Cosmopolitan Reader. Malden: Polity Press.
Cheah, Pheng. 1998a. Given Culture: Rethinking Cosmopolitical Freedom in Transnationalism. In Cosmopolitics: Thinking and Feeling Beyond the Nation, ed. Pheng Cheah and Bruce Robbins, 290–328. Minneapolis: University of Minnesota Press.
———. 1998b. Introduction Part II: The Cosmopolitical—Today. In Cosmopolitics: Thinking and Feeling Beyond the Nation, ed. Pheng Cheah and Bruce Robbins, 20–44. Minneapolis: University of Minnesota Press.
Clifford, James. 1998. Mixed Feelings. In Cosmopolitics: Thinking and Feeling Beyond the Nation, ed. Pheng Cheah and Bruce Robbins, 362–370. Minneapolis: University of Minnesota Press.
Collins, Sarah, and Dana Gooley. 2017. Music and the New Cosmopolitanism: Problems and Possibilities. The Musical Quarterly 99: 139–165.
Collins, Sarah, and Simon Perry. 2015. ‘The Beauty of Bravery’: Alternative Modernisms, De-Historicizing Grainger. In Grainger the Modernist, ed. Suzanne Robinson and Kay Dreyfus, 17–32. Surrey: Ashgate.
Crawford, Richard. 1996. Edward MacDowell: Musical Nationalism and an American Tone Poet. Journal of the American Musicological Society 49 (3): 528–560.
———. 2001. America’s Musical Life: A History. New York: W. W. Norton.
Delanty, Gerard. 2009. The Cosmopolitan Imagination: The Renewal of Critical Social Theory. Cambridge: Cambridge University Press.
Derrida, Jacques. 2010. On Cosmopolitanism. In The Cosmopolitan Reader, ed. Garrett Wallace Brown and David Held, 414–422. Malden: Polity Press.
Freeman, Graham. 2015. Grainger and the Performativity of Folk Song. In Grainger the Modernist, ed. Suzanne Robinson and Kay Dreyfus, 33–54. Surrey: Ashgate.
Gelbart, Matthew. 2007. The Invention of “Folk Music” and “Art Music”: Emerging Categories from Ossian to Wagner. Cambridge: Cambridge University Press.
Gillies, Malcolm, and David Pear. 2007. Percy Grainger and American Nordicism. In Western Music and Race, ed. Julie Brown, 115–124. Cambridge: Cambridge University Press.
Gillies, Malcolm, David Pear, and Mark Carroll, eds. 2006. Self-Portrait of Percy Grainger. Oxford: Oxford University Press.
Gooley, Dana. 2013. Cosmopolitanism in the Age of Nationalism, 1848–1914. Journal of the American Musicological Society 66 (2): 523–524.
Grainger, Percy. 1999. Grainger on Music. Ed. Malcolm Gillies and David Pear. Oxford: Oxford University Press.
———. 2002. The All-Round Man: Selected Letters of Percy Grainger 1914–1961. Ed. Malcolm Gillies and David Pear. Oxford: Oxford University Press.
Grieg, Edvard. 2000. Edvard Grieg: Letters to Colleagues and Friends. Ed. Finn Benestad and Trans. William H. Halverson. Columbus: Peer Gynt Press.
Hatten, Robert S. 1985. The Place of Intertextuality in Music Studies. The American Journal of Semiotics 3 (5): 69–82.
Hight, G. H. Trans. The Saga of Grettir the Strong. Retrieved from http://sagadb.org/grettis_saga.en2.
Hollinger, David A. 2002. The New Cosmopolitanism. In Conceiving Cosmopolitanism: Theory, Context, and Practice, ed. Steven Vertovec and Robin Cohen, 227–239. Oxford: Oxford University Press.
Hugill, Andrew. 2015. Percy Grainger: A Pioneer of Electronic Music. In Grainger the Modernist, ed. Suzanne Robinson and Kay Dreyfus, 231–254. Survey: Ashgate.
Kellogg, Robert. 2001. Introduction. In The Sagas of Icelanders, xv–lvii. New York: Penguin Books.
Leonard, Neil. 1966. Edward MacDowell and the Realists. American Quarterly 18 (2): 175–182.
Lothe, Jakob. 2004. Short Fiction as Estrangement: From Franz Kafka to Tarjei Vesaas and Kjell Askildsen. In European and Nordic Modernisms, ed. Mats Jansson, Jakob Lothe, and Hannu Riikonen, 97–115. London: Norvik Press.
MacDowell, Edward. 1912. Critical and Historical Lectures. Ed. W. J. Baltzell. Boston: F. H. Gilson Company.
Manning, Susan, and Andrew Taylor, eds. 2007. Transatlantic Literary Studies: A Reader. Baltimore: The Johns Hopkins University Press.
Mellers, Wilfrid. 1992. Percy Grainger. Oxford: Oxford University Press.
Molz, Jennie Germann. 2011. Cosmopolitanism and Consumption. In The Ashgate Research Companion to Cosmopolitanism, ed. Maria Rovisco and Magdalena Nowicka, 33–52. Surrey: Ashgate.
Morgan, Joseph P. 2014. Carl Maria von Weber: Oberon and Cosmopolitanism in the Early German Romantic. Lanham: Rowman & Littlefield.
Nussbaum, Martha C. 2010. Patriotism and Cosmopolitanism. In The Cosmopolitan Reader, ed. Garrett Wallace Brown and David Held, 155–162. Malden: Polity Press.
Papastergiadis, Nikos. 2012. Cosmopolitanism and Culture. Cambridge: Polity Press.
Pettersson, Torsten. 2004. Why Did Some Authors Become Modernists? Early High Modernism and Multipolar Identities. In European and Nordic Modernisms, ed. Mats Jansson, Jakob Lothe, and Hannu Riikonen, 25–36. London: Norvik Press.
Saavedra, Leonora. 2015. Carlos Chávez’s Polysemic Style: Constructing the National, Seeking the Cosmopolitan. Journal of the American Musicological Society 68 (1): 99–150.
Spencer, Benjamin. 1941. The New Realism and a National Literature. PMLA 56 (4): 1116–1132.
Tan, Kok-Chor. 2010. Nationalism and Cosmopolitanism. In The Cosmopolitan Reader, ed. Garrett Wallace Brown and David Held, 176–190. Malden: Polity Press.
Taruskin, Richard. 1996. Stravinsky and the Russian Traditions. Berkeley: University of California Press.
———. 2006. Why You Cannot Leave Bartók Out. Studia Musicologica Academiae Scientiarum Hungaricae, 265–277. Proceedings of the International Conference Held by the Bartók Archives. March 22–24.
Tregear, Peter. 2015. Giving Voice to the ‘Painfulness of Human Life’: Grainger’s Folk Song Settings and Musical Irony. In Grainger the Modernist, ed. Suzanne Robinson and Kay Dreyfus, 93–106. Surrey: Ashgate.
Tylor, Edward Burnett. 2016. Primitive Culture: Volume I. New York: Dover.
Walkowitz, Rebecca L. 2006. Cosmopolitan Style: Modernism Beyond the Nation. New York: Columbia University Press.
Whiteoak, John. 2015. Minstrelsy, Ragtime, ‘Improvisatory Music’ and Percy Grainger’s ‘Unwritten Music’. In Grainger the Modernist, ed. Suzanne Robinson and Kay Dreyfus, 139–161. Surrey: Ashgate.
Young, Robert J.C. 1995. Colonial Desire: Hybridity in Theory, Culture and Race. New York: Routledge.
Author information
Authors and Affiliations
Rights and permissions
Copyright information
© 2018 The Author(s)
About this chapter
Cite this chapter
Weber, R.R. (2018). In Search of Hybridity: MacDowell, Grainger, and the End of Anachronisms. In: Cosmopolitanism and Transatlantic Circles in Music and Literature. Palgrave Studies in Music and Literature. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-01860-3_6
Download citation
DOI: https://doi.org/10.1007/978-3-030-01860-3_6
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-030-01859-7
Online ISBN: 978-3-030-01860-3
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)