Nationalism
民族主义音乐

Musical nationalism refers to the use of musical ideas or motifs that are identified with a specific country, region, or ethnicity, such as folk tunes and melodies, rhythms, and harmonies inspired by them. As a musical movement, nationalism emerged early in the 19th century in connection with political independence movements, and was characterized by an emphasis on national musical elements such as the use of folk songs, folk dances or rhythms, or on the adoption of nationalist subjects for operas, symphonic poems, or other forms of music. As new nations were formed in Europe, composers started to separate themselves from the standards set by Italian, French, and especially German traditionalists.
音乐民族主义是指音乐理念或乐旨的表达与某个特定国家、区域或民族紧密地联合在一起，比如受到民族主义启发而创作的民歌曲调和歌曲、韵律及和声。民族主义作为一项音乐运动，出现在19世纪早期，与当时的政治独立运动有关，其特点是强调民族音乐成分，例如使用民歌、民间舞曲或韵律，或者强调在歌剧、交响诗或其他音乐形式中采用民族主义主题。随着欧洲一些新国家的成立，一些作曲家开始摆脱意大利、法国，尤其是德国的传统主义者所建立的标准。

More precise considerations of the point of origin are a matter of some dispute. One view holds that it began with the war of liberation against Napoleon, leading to a receptive atmosphere in Germany for Weber's opera Der Freischütz (1821) and, later, Richard Wagner's epic dramas based on Teutonic legends.
关于民族主义音乐确切的起源仍存在争议。一种观点认为，它随着对抗拿破仑的解放战争应运而生，因而德国人非常包容地接受了韦伯的歌剧《自由射手》(1821)，之后亦欣然接纳理查德·瓦格纳根据日耳曼传说改编的史诗剧。

Frédéric Chopin was one of the first composers to incorporate nationalistic elements into his compositions. Joseph Machlis states, “Poland's struggle for freedom from tsarist rule aroused the national poet in Poland... Examples of musical nationalism abound in the output of the romantic era. The folk idiom is prominent in the Mazurkas of Chopin”.
弗雷德里克·肖邦是将民族主义元素融入创作中的首批作曲家之一。约瑟夫·麦克里斯曾说过：“波兰抗击沙皇统治、寻求自由的努力，激发了波兰民族主义诗人的产生……民族主义音乐的例子在浪漫主义时代不胜枚举。肖邦的玛祖卡舞曲中就充满着民间音调的气息。”