The culturally distinct musical discourses in the new compositional schools of the late XIX century — beginning of the XX century

In this article is analyzed the correlation of the concepts of music and identity is analyzed, in which music lends itself as one of the key elements of identity, because it offers a perception of the self, but also of the collective. The concept of musical identity was the main focus in the creation of new national musical schools (Eastern Europe). Musical compositional creation that tended to embody tradition has served as a powerful cultural resource for nationalism since the 19th century. Th e compositional vector was directed, on the one hand, to get out of the crisis of the romantic music trend, and on the other hand, to strengthen the new national schools in the states of Eastern Europe, where the academic musical culture was at a relatively young stage. In the post-romantic crisis, the appeal to formulas of folklore origin brought a new breath, diversifying the musical language and the means of expression, in order to affirm musical cultures (Poland, Hungary, Czech Republic, Bulgaria, Romania), etc. The new states, previously under the influence of the great empires, distanced themselves somewhat from Western musical culture, a fact that allowed, on the one hand, the creation of national schools and the preservation of traditions in the conditions of essential changes in European, pan-European and world composition.