ABSTRACT
Heinrich was at pains to proclaim himself as an ‘American musician’ and began to compose a spate of works ‘inspired’ by Indian melodic sources. However, Heinrich's historical significance lies in his aspiration to be thus seen as a uniquely 'American' composer which might be seen as a curious although superficial and naive parallel to Jindyworobakism. Among the many other composers active during this last phase of overt 'Americanism', the composer who, with Copland, stands out as of interest when comparing possible affinities with Australian Jindyworobakism is Roy Harris. This chapter presents a general overview of the essential features of musical nationalism in countries other than Australia in which there has been an encounter between European colonizing populations and an indigenous or ‘first nation’ culture. In conclusion, nevertheless, it may be claimed that the total ‘Jindyworobak equation’ has been found in the art music of no country surveyed in this chapter.
