This significant volume moves music-historical research in the direction of deconstructing the national grand narratives in
music history, of challenging the national paradigm in methodology, and thinking anew about cultural traffic, cultural transfer
and cosmopolitanism in the musical past. The chapters of this book confront, or subject to some kind of critique, assumptions
about the importance of the national in the musical past. The emphasis, therefore, is not so much on how national culture
has been constructed, or how national cultural institutions have influenced musical production, but, rather, on the way the
national has been challenged by musical practices or audience reception.