This article aims to explain the rise of Western art forms in the musical creation of the Romanian Principalities in the first half of the nineteenth century, as dictated by a particular European political and economic dynamic. I analyse the spread of Western music – usually described as a consequence of the gradual modernization of Romanian society – in terms of the power relations between the European core and a newly integrated periphery at the Eastern border of the continent. To illustrate this change, I discuss Edward Said's concept of orientalism which helps describe the early interactions between Western musicians and professionals and the local music traditions and customs. I then show how these interactions gave the former access to a distinctive musical material used in compositions targeting an expanding European music market. In an age of national struggle in the Romanian Principalities, national music was both a concept and a practice in demand by the local intelligentsia and fostered by composers. However, in addition to this agreement, the concept of national music signalled some significant societal changes that I elucidate by looking at class stratification and the evolution of musical taste. In the final part of the analysis, I draw on dependency theory authors such as Samir Amin and Daniel Chirot to argue that musical life in the first half of the nineteenth century in Wallachia and Moldavia was closely mirroring the economic development of these countries. Thus, I demonstrate that the emergence of the Romanian school of composition must be understood not only at a national level but also within a broader political, economic and social context, defined by the gradual transition to capitalist modes of production and consumption that happened in the first decades of the nineteenth century.

本文旨在解释十九世纪上半叶罗马尼亚公国音乐创作中西方艺术形式的兴起，这是由特定的欧洲政治和经济动态决定的。我根据欧洲核心与欧洲大陆东部边界新整合的外围之间的权力关系来分析西方音乐的传播——通常被描述为罗马尼亚社会逐渐现代化的结果。为了说明这一变化，我讨论了爱德华·赛义德的东方主义概念，它有助于描述西方音乐家和专业人士以及当地音乐传统和习俗之间的早期互动。然后，我将展示这些互动如何让前者获得一种独特的音乐材料，该材料用于针对不断扩大的欧洲音乐市场的作品中。在罗马尼亚各公国的民族斗争时代，民族音乐既是当地知识分子所需要的概念，也是作曲家所培育的实践。然而，除了这一共识之外，民族音乐的概念还标志着一些重大的社会变化，我通过观察阶级分层和音乐品味的演变来阐明这些变化。在分析的最后部分，我借鉴萨米尔·阿明和丹尼尔·奇罗特等依赖理论作者的观点，认为十九世纪上半叶瓦拉几亚和摩尔达维亚的音乐生活密切反映了这些国家的经济发展。因此，我证明，罗马尼亚作曲学派的出现不仅必须在国家层面上理解，而且必须在更广泛的政治、经济和社会背景下进行理解，这一背景是由资本主义生产和消费模式的逐渐过渡所定义的。十九世纪的前几十年。