One view holds that it began with the war of liberation against Napoleon, leading to a receptive atmosphere in Germany for Weber's opera Der Freischütz (1821) and, later, Richard Wagner's epic dramas based on Teutonic legends.
At around the same time, Poland's struggle for freedom from the three partitioning powers produced a nationalist spirit in the piano works and orchestral compositions such as Chopin's Fantasy on Polish Airs or Revolutionary Etude; slightly later Italy's aspiration to independence from Austria resonated in many of the operas of Giuseppe Verdi.
ZANU nationalists and their ZANLA guerrillas used political songs as a means for engaging a wider variety of socioeconomic classes; traditional Shona cultural practices, including music, were cited as areas of common ground.
[5] Revolutionary leader Robert Mugabe formed the Youth League, which regularly organized and performed tribal dances as part of party meetings.
In early twentieth-century Afghanistan, music played on Afghan radio blended Hindustani, Persian, Pashtun, and Tadjik traditions into a single national style, blurring ethnic lines at the behest of nationalist "ideologues."
As modes of globalization penetrated the country, Colombians began to consume increasingly diverse types of music, which set the stage for Carlos Vives's 1993 album featuring modernized versions of vallenato songs from the 1930s from the Caribbean coastal region.
[13] (see Ethnomusicology#Globalization) The Société nationale de musique was an important organisation in late 19th/early 20th century France to promote French music.
[citation needed] Inspiration by Ukrainian folklore could be observed even earlier, particularly in compositions by Maxim Berezovsky (1745–1777),[29] Dmitry Bortniansky (1751–1825),[30] and Artemy Vedel (1767–1808).