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The oppositional notions of centre and periphery, mainstream and margin, and universal and local have long been important criteria for the scholarly study of Western music. Indeed they are often taken for granted. This paper will take a critical look at the relationship obtaining between art music the notion of a national music. The object of study is taken from among the works of the Canadian composer (of Czech origin) Oskar Morawetz. The point is not to deny that music can be legitimately associated with a given place but rather to examine how these complex, problematic relationships are created and how they evolve and/or dissolve over time.Les notions oppositionnelles telles centre et périphérie, courants majeurs et mineurs, ou universel et local sont depuis longtemps des critères importants dans la recherche sur la musique occidentale. Encore de nos jours, elles sont souvent tenues pour acquis sans réflexion critique. L’article propose un examen critique de la relation entre la musique savante et la notion de musique nationale. L’objet d’étude est l’œuvre du compositeur canadien (d’origine tchèque) Oskar Morawetz. Le but n’est pas de nier que la musique puisse être associée légitimement à des lieux spécifiques, mais plutôt de voir comment ces relations se créent, évoluent ou se dissolvent à travers le temps

canadian university music review

Deconstructing the Local: The Aesthetic Space and Geographic Place of Oskar Morawetz's String Quartet no. 5 "A Tribute to Wolfgang Amadeus Mozart" (1991)