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Carl Nielsen and Early Twentieth-Century Musical/Aesthetic Theory

Both in his music and in his writings, Nielsen’s independence of spirit resists categorisation. Nevertheless, many of the articles of faith most closely associated with him – and even the actual words in which they are couched – reflect the musical/aesthetic discourses of his time. Such affinities may be traced, for instance, in the writings of the Russian musicologist Boris Asafyev, the Austro-Sw…