Identitarians place great importance on the role of music in our daily lives. All art forms are central to cultural expression and music has provided great joy, comfort, tonic, meaning and food for the soul to all Europeans for millennia. It is no exaggeration to credit Western music as one of the most pertinent examples of our collective ethno-cultures.
As one of the oldest of cultural manifestations in all human societies, since prehistory, music and song have evolved much like other art forms, influencing and interweaving between and through different cultures. European music especially, in its complexity, inventiveness and sheer variety, arguably bonds together the people of that continent more than any other social phenomenon.
The Western lineage is long: through my ears, at least, I can detect a resemblance and parallel of forms between western folk music and traditional Indian music – more so, than say, African or Chinese. I am no scholar in this field, but maybe this is evidence of some ancient link – still resonating from our Indo-European origins.
Distinctly Western music can trace its origins to the Romans and Greeks. This was enhanced and rerouted by the rise of Christianity (which was itself becoming palpably European in flavour) via Byzantine and Gregorian chants with their distinctive, uniquely European notations. Indeed, it was Pythagoras who devised the musical scales, the relationship between harmony and mathematics, which are still in use, adapted and improved – by Europeans – over the centuries. His genius has guided the thread of European music ever since.
From these beginnings, the throng of European musical forms sprang. When Identitarians and other patriots listen to medieval court music, opera, baroque, the great symphonies, traditional folksongs and tunes, we hear our ancestors speaking to us. It is this connection then, which makes music and song so salient from an Identitarian perspective.
Of course, the story continues: the British and Irish folk genres have seen no less than three revivals in the last one hundred years (in the 1920s, 1960s and 1990s). These phenomena are one example of modern Europeans continuing to seek out their ethno-cultural roots and their proclivity to display a devotional attachment to their forefathers. Many of the modern folk scene’s contemporary stars write original material, while keeping well within the folk vibe – and this is also the case in other genres. Music provides memes that help steady the cultural ship in increasingly choppy waters.
Music has magical properties; it calls us away from the profane. It has a transcendent element that Identitarians see as crucial for European wellbeing. The great classical works have the power to lead us away from the material world beloved of the globalists and neoliberals, and toward the spiritual. Music provides evocations of the national and civilisational psyche – who can listen to Vaughn Williams’ Fantasia on a Theme by Thomas Tallis and not, in their mind’s eye, behold vistas of the English countryside?
Simply put, our heritage of European music, in all its forms, is a signature of our civilisation – it is the soundtrack to our great story. Play on!