This paper unfolds how informal civil society quickly mobilised citizen-to-citizen support when government and non-government organisations locked down during the COVID-19 pandemic. The paper focuses on two elements of the mobilisation: the role of social networks and social media groups. It reveals that the vast majority of this support was distributed through existing social networks and, therefore, not available to those lacking social connections. However, we also find that social media groups played an important role in the mobilisation, that support organised on social media does not diverge significantly in commitment or kind from support organised in other settings. The paper concludes by discussing the potential of social media to mitigate the impact of social networks on the distribution of support, pointing to some of the potential barriers to social media groups' successful facilitation of support to those without a social network.

Very little research has been conducted into the relationship between classical music and nationalism. This is a shame as music has played a significant role in the construction and consolidation of nationalism in many European countries. This article illustrates this by analysing the role of classical music and, in particular, contemporary serious music in the construction of Danish consensus nationalism in the 1930s and 1940s. In so doing, it explores the repression of the modernist expression which was and still is considered a Continental European phenomenon in favour of a local and traditional expression. Furthermore, it analyses the elevation of Carl Nielsen to the position of Danish composer par excellence.

This article argues that music, and in particular the history of music, can make a considerable contribution to the study of nations and nationalism and illustrates it by analysing Be´la Barto´k and Igor Stravinsky, relating these analyses to significant debates within theories of nations and nationalism. Within studies of nations and nationalism the article concentrates on the different interpretations of the term 'construction' expressed in the works of Eric Hobsbawm and Anthony D. Smith. National music is bad. Good music is national.

No abstract

This paper explores the role of classical music in the construction of nationalism in the twentieth century. It takes its point of departure in the Danish composer Carl Nielsen and analyses competing interpretations and receptions of his works. The paper seeks to move beyond the single case study. Hence, it includes three additional cases: the Soviet composer Dimitry Shostacovich (particularly the reception of his 5th Symphony); the position of Paul Hindemith in the Third Reich; and finally the development in Aron Copland's oeuvre. In so doing, it aims to clarify the relationship between classical music and nationalism.