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The so-called French years were a decisive period in the Dutch history, in which the Republic transformed into a monarchy, causing a change in feelings of a collective identity. The thesis investigates if the reconstruction of a Dutch national identity manifests itself in the music and the text of Dutch songs. To this end, the text and music of a restricted set of songs published in 1795 and 1814 has been analysed. The song lyrics testify to a changing collective identity that was no longer based on ancestry and a political system, but rather on a common language, social habits, and a shared history as opposed to other nations. In some cases, the connotations clinging to a chosen melody provided an extra layer of meaning. Like other cultural expressions—literature, drama—music and song contributed in various extents to the construction and consolidation of a Dutch national identity. The role of the lyrics has become clearer in this research, but regarding the role of the music, the results are inconclusive. The sources of 1795 and 1814 have proved to be less comparable material with regards to the choice of melodies.

The story of Salome, who caused the decapitation of John the Baptist with her seductive dance, has been an inspiration for numerous artists. Among them was Richard Strauss, who made a high-profile opera about her. This thesis examines the portrayal of Salome in four contemporary stagings of Strauss’s opera, to which end video recordings were used. Previous research has often concentrated solely on Salome, but in this thesis the focus is on her interplay with the other characters. Instead of portraying Salome as the customary femme fatale, these productions turn the well-known story in various ways into family affairs. The directors managed to raise current social issues in their stagings, such as sexual abuse within the family and alcohol abuse among teenagers.