Las actuales señas de identidad musicales en Europaorígenes y vigencia

Laburpena

The cycle of the bourgeois revolution resulted in the definitive establishment of a new dominant social group. Like in all exercise of power, the search for legitimation would lead these renewed elites towards the use of some of the forms and customs of the nobility. Amongst these forms is the use of music as a tool to give social relations prestige and cohesion, even though the scenario and its way of operating is different from before. The effective symbolic character that classical music of recent creation exerted during the 19th century has lost its force since the end of World War II. As the social taste concentrated on the masterpieces that had already been consecrated, these have either continued being used with aims similar to the ones that caused their creation, or have been adapted to objectives for which, in principle, they were not conceived. In the article, some examples of significant composers and works of the 19th century are presented, which in our times continue acting as elements that help to distinguish certain countries in the international scene. This is the case with works of music whose political use has not been changed from the use for which they were conceived. For want of new pieces with a social impact, these works have conserved their effectiveness. There are also cases of already consecrated works that have been readapted in recent times, such as the transformation of the Ninth Symphony of Beethoven (particularly the fourth movement) in the hymn of the young European Union, which needed signs of identity and legimitating arguments to consolidate its new course.