Song Loves the Masses: Herder on Music and Nationalism by Philip V. Bohlman is an intellectual and philosophical work on Johann Gottfried Herder’s musings on music, nationalism, religion, and aesthetics. Not merely a collection of translations, it is an exploration of how Herder’s scattered writings on music could coalesce into a singular, monumental work, a book that Herder himself might have envisioned had he synthesized his thoughts on these intertwined subjects into a cohesive whole. Bohlman, a distinguished ethnomusicologist, has carefully curated and translated Herder’s musings, offering them to the contemporary reader as a unified philosophical treatise that resonates deeply with questions of cultural identity, nationalism, and the universal power of music.
Herder, a towering figure in the late Enlightenment, whose intellectual legacy shaped the Romantic movement, emerges in this volume as a thinker whose reflections on music were not isolated but intricately connected to his broader philosophical and theological inquiries. Bohlman presents Herder’s thoughts as they evolve across his life, from the early Volkslieder collections, which sought to capture the essence of national identity through folk songs, to his later, more mature writings on aesthetics and religion. These writings are not just about music as an art form but about music as a cultural force, as a vehicle for expressing and shaping the soul of a people, and as a conduit for religious and nationalistic sentiment.
In compiling these translations, Bohlman provides more than just access to Herder’s original texts; he offers a philosophical exegesis, framing Herder’s thoughts within the broader context of his intellectual pursuits and the historical milieu in which he lived. The book delves into the symbiotic relationship between music and nationalism, illustrating how Herder perceived music as both a reflection of the national spirit and a means of cultivating it. Herder’s notion of music transcended mere aesthetics, positioning it at the crossroads of national identity, religious expression, and universal human experience.
The volume not only situates Herder within the broader intellectual history of the Enlightenment and Romanticism but also underscores the importance of translation as a philosophical act. For Bohlman, translation is not just a mechanical rendering of words from one language to another; it is an interpretive practice, one that mirrors Herder’s own efforts to translate the cultural and musical expressions of diverse peoples into a shared humanistic language. This act of translation, Bohlman argues, is central to understanding Herder’s approach to music and nationalism, as it reflects the philosopher’s belief in the universality of human experience and the potential of music to bridge the divides between different cultures and nations.
Bohlman’s translation captures the nuances of Herder’s thought while remaining faithful to the original texts. The translations are accompanied by extensive introductions and analytical chapters that guide the reader through the complexities of Herder’s ideas. These sections are not mere summaries, they are deeply reflective essays that engage with the texts on multiple levels, exploring the philosophical, historical, and cultural implications of Herder’s work. Bohlman’s analysis reveals the underlying unity in Herder’s seemingly disparate writings on music, showing how they collectively contribute to a coherent vision of music as a force for both personal and national identity.
One of the central themes of the book is the interplay between music and nationalism. Herder’s concept of nationalism was not the aggressive, exclusionary nationalism that emerged in the 19th and 20th centuries, but a more inclusive, cultural nationalism that sought to preserve and celebrate the unique identity of each nation through its folk traditions, particularly its music. Herder saw music as a vital expression of the Volksgeist, the spirit of the people, and believed that by collecting and studying folk songs, one could gain insight into the character and soul of a nation. Bohlman’s translations highlight this aspect of Herder’s thought, showing how he viewed music as a unifying force that could strengthen the bonds of national identity while also promoting a sense of common humanity.
Bohlman also explores the religious dimensions of Herder’s musical thought. For Herder, music was not only a nationalistic expression but also a sacred one. He believed that music had the power to convey religious truth and that it played a central role in the spiritual life of the nation. This connection between music and religion is evident in Herder’s translations of biblical texts, such as Psalm 137, which Bohlman includes in the volume. Herder’s interpretation of this psalm reflects his belief that music could encapsulate the suffering and hope of a people, serving as a form of spiritual resistance and a source of collective memory. Bohlman’s introduction to this section draws out the political and theological implications of Herder’s musical interpretations, showing how they contribute to a broader understanding of the role of music in the life of a nation.
Throughout Song Loves the Masses, Bohlman carefully traces the development of Herder’s thought on music and nationalism, showing how his ideas evolved over time in response to the changing political and cultural landscape of Europe. Herder’s early writings on folk music, which were influenced by his experiences in Riga and his encounters with the diverse cultures of the Baltic region, laid the groundwork for his later, more systematic explorations of music’s role in shaping national identity. Bohlman’s translations capture this evolution, presenting Herder’s writings in a way that highlights their continuity as well as their development.
The book also examines the broader impact of Herder’s ideas on the study of music and nationalism, both in Europe and beyond. Bohlman situates Herder within the larger context of ethnomusicology, arguing that his work laid the foundation for the modern study of music as a cultural and social phenomenon. By collecting and analysing folk songs from different cultures, Herder anticipated many of the methods and concerns of later ethnomusicologists, and his work continues to influence the field today. Bohlman’s analysis of Herder’s legacy is both rigorous and insightful, offering a fresh perspective on the enduring relevance of his ideas.
Song Loves the Masses is a book that defies easy categorization. It is at once a translation, a philosophical treatise, a work of intellectual history, and a study of music and nationalism. Bohlman’s scholarly rigor and deep engagement with Herder’s thought make it an essential read for anyone interested in these subjects. The book challenges readers to think deeply about the relationship between music, culture, and national identity, and it offers new insights into the ways in which music can shape and reflect the collective consciousness of a people.
Philip V. Bohlman’s Song Loves the Masses: Herder on Music and Nationalism is a monumental work that brings Johann Gottfried Herder’s scattered writings on music into a cohesive and compelling narrative. Through meticulous translation and insightful analysis, Bohlman not only presents Herder’s ideas in a new light but also engages with the broader philosophical and cultural questions that they raise. The book is a testament to the enduring power of Herder’s thought and a valuable contribution to the study of music, nationalism, and intellectual history.
Simon Gros 
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