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Book Review of 'Nation and/or Homeland. Identity in 19th-Century Music and Literature between Central and Mediterranean Europe' by Ivano Cavallini (ed.)
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Book review of 'Provincial theater and its opera. German opera scene in Olomouc (1770–1920)', Olomouc 2015 by Jiří Kopecký, Lenka Křupková
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This article provides an overview of a subject previously not discussed in the Polish ethnomusicological literature, namely, the phenomenon of e-fieldwork – ethnomusicological fieldwork on the Internet, discussed here from both the Polish and the global perspective. Based on the (mostly English-language) subject literature, as well as responses from a brief questionnaire conducted among Polish researchers, the author explains how ethnomusicologists use the Internet for various purposes, which include preparing for field trips, conducting research online, collecting materials and information, and maintaining contact with respondents (to explore the subject at greater length or to send recorded materials).The author discusses issues relating to methodology (what to study and how, available techniques and methods), logistics and technology (contact with informants, access to data, identifying interlocutors), identity (who the researchers are and how they feel on the Internet) and terminology (terms currently used, particularly in English, relating to online ethnomusicological research practice). Some ethical and legal issues are also signalled (EU GDPR).Citing ethnomusicological studies conducted during the COVID-19 pandemic, the author shows how that situation altered ethnomusicologists’ lives, what and how research was conducted in that period, and whether – and if so, how – the way people worked was modified in the changed circumstances.
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This article focuses on the studies and collections of folk songs and tales that formed the main source of inspiration for Igor Stravinsky during the Russian period of his work. To do this, I begin with a brief analysis of the evolution of folkloristics mainly during the 19th century and the construction of science with clearer, mainly national and patriotic goals and methods, as well as the use of folk literature and poetry by the artists of the time. It was in this field that Stravinsky was active, although in the case of his own modern approach, it is difficult to answer whether the motivations were clearly national or not.
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Igor Stravinsky’s philosophical and religious trajectory included transformative encounters with Catholic theologians and philosophers in the Paris of the 1920s and 1930s. The most important amongst these was Jacques Maritain, whose neoThomist philosophy applied to art was of significance to Stravinsky, and in particular through its application in the life and work of fellow Russian émigré composer Arthur Lourié. This article examines the relationship between Stravinsky and Maritain in terms of the larger philosophical and creative context of the period, also touching on the work of Lourié and Manuel de Falla, and discussing its ramifications in the work of Stravinsky himself.
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The complex authorship of Stravinsky’s Poetics of Music, as a result of the collaboration between the Russian composer himself, the composer and critic Alexis Roland-Manuel and the Russian émigré thinker Pierre Souvtchinsky, has been well established by now. This article traces the latter’s contribution to Stravinsky’s book moving beyond the obvious places to look, namely the fifth chapter (written by Souvtchinsky) and the well-known reference to Souvtchinsky’s ideas on music and time. The Poetics will thus intriguingly emerge as a most unexpected platform for the presentation and dissemination of positions associated with a certain strand of Eurasianism, the Russian émigré intellectual and political movement, with which Souvtchinsky was closely associated.
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Igor Stravinsky’s late style is usually considered in terms of the works’ structure. Following Joseph N. Straus, this article attempts to highlight expressive, semantic and self-referential dimensions in Stravinsky’s late compositions. These dimensions emerge there with particular clarity and partly contradict the usual assessments of this music as abstract and constructivist; as such, they also challenge the composer’s own statements.
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This article explores aspects of Stravinsky’s influence on some key composers of the Francophone post-war avant-garde, namely Pierre Boulez, Jean Barraqué, Henri Pousseur and Michel Philippot. While Messiaen, Boulez and Barraqué build on Stravinsky’s rhythmic innovations, Pousseur focuses on the sonic complexity of the Russian composer’s scores. Boulez and Philippot praise Stravinsky’s unique instrumental groupings and later Boulez finds in certain of Stravinsky’s scores a renewed source of musical form, as well as the structural coherence afforded by Stravinsky’s use of pitch polarity.
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The high rank of Igor Stravinsky’s works (especially for ballet) prompts a discussion about the meaning of corporeality and dance in his output, a meaning that goes beyond Stravinsky’s historically-documented interest in ballet music. Thus, the encounter with Diaghilev and Nijinsky could be justified as immanently emanating from his own musical aesthetics and poetics. If dance seems for the composer to form an additional, immanent level of the music, the question of the aesthetic sense of reference to the body in Stravinsky’s music remains unanswered. By attaining a “mediated immediacy” (Helmuth Plessner) in his works, his ballet music manages to maintain a certain distance – objectifying, alienating – from subjective expression, without becoming abstract, and at the same time without losing the subjective and intersubjective bonds in which it is immersed. Through dance, Stravinsky not only strengthens the aspect of mediation in his music, but in a reflective not primitive practice, he also looks for the origins of aesthetic expression.
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Theodor W. Adorno’s critique of Igor Stravinsky has itself been repeatedly criticised. Following the same line, the present article takes as its point of departure the philosophical anthropology of Helmuth Plessner, which challenges the premises of Marxist anthropology, on which Adorno based his critique of Stravinsky. Far from regressing to the inhuman and primitive, Stravinsky’s music affirms, in historically adequate modern terms, the constitutive reflectivity of the human embodied condition, thus becoming more “human”, i.e. meaningful and expressive, than Adorno could have even conceived. Additionally, an account is provided of some groundbreaking musical qualities that underpin the artistic value of Stravinsky’s music, which Adorno also contested.
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Music for voice holds a special place in the opus of Serbian composer Jug Marković. In all of his pieces, Marković maintains a type of care for the vocal part that distinguishes him in the context of Serbian art music, and, at the same time, puts him on the international map of contemporary composers who work with voice in non-traditional ways. This is reflected in his intention to diversify performing techniques and vocal styles, in the detailed instructions regarding technique and scenic gesture, and in the use of technological means in vocal performance and manipulation of sound. In this paper, I investigate the expansion of vocal and bodily expression via performing techniques and new technologies, and address the issues of autonomy, agency, and responsibility of composer and vocal performer, in order to determine the characteristics and different factors of eclecticism in Marković’s vocal music.
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The purpose of this study is to contribute to the discussion of how the character of physical body movements conveys expression and affects the creation of a musical work. The primary focus of this phenomenological study is on kinesthetic gestures or body movements which pianists use in their performances in order to create the musical-poetic content in a corporeal performing form. The main discussion is concentrated on the analysis of movements that emanate from the characteristics of the piano technique, particularly of technical elements in the piano sonatas by Ludwig van Beethoven.
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This article is devoted to Petar Bingulac’s critiques of choral music published in the magazine Misao – a total of twenty-four reviews, most of which are on choral music and its performers. I discuss Bingulac’s selected reviews from the point of view of critical-analytical interpretation. One of the goals is to determine the author’s dominant method when writing reviews and to assess his role in Serbian music criticism, taking into account the context in which the selected writings were created. I also compare his reviews of choral music performances with the views of other prominent critics.
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Coming in the last year of the project “The record industry in Croatia from 1927 to the end of the 1950s”, undertaken by the Institute of Ethnology and Folklore Research and Academy of Music in Zagreb, Croatia,1 the conference 78 rpm at home: Local perspectives on the early recording industry brought together (onsite and online) researchers from various disciplines. This was the opportunity to contextualise project research in a broader geographical and thematic perspective and connect researchers dealing with this growing field.
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The Slovenian philologist and folk song researcher Karel Štrekelj (1859–1812) was one of the first researchers in Slovenia to recognise the importance and usefulness of a new sound recording method. Based on a detailed study of archival documents and relevant literature, in this article I examine Štrekelj’s contribution to folk music research using a new technical device and introducing a new method of sound documentation to field research. By placing his plans and efforts in a broader context of folk song research, one concludes that Štrekelj was more ambitious and forward-thinking than many other researchers at the time.
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In this article I present a “manifesto” of the new discipline of applied musicology, which is closely related to the project Applied Musicology and Ethnomusicology in Serbia: Making a Difference in Contemporary Society (APPMES), supported by the Serbian Science Fund. Here I wish to outline some of the main aims and goals of this project and offer a broader insight into what applied musicology should strive to become. In the second part of the article, I present a case study of the Belgrade neighbourhood of Savamala where I conducted fieldwork before formulating the concept of applied musicology; nevertheless, this research is completely aligned with the aims and purposes of the new discipline, and it has helped me to turn my intuitive insights into a comprehensive theoretical concept.
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In recent decades, audiovisual media has been increasingly used in ethnomusicological research. If we consider how scholars use them, four main areas of application can be identified: 1) data analysis, 2) documentary films, 3) public ethnomusicology, 4) educational use. This article presents some audiovisual products on traditional instrumental and vocal music as well as improvised sung poetry in Sardinia (Italy) on which I have worked over the last few years - including the visual representation of musical and poetic forms, and also audiovisual products for exhibitions, museums and multimedia encyclopaedias. My aim is to discuss the role played by ethnomusicologist in conceiving new strategies for the visual representation of the music of oral tradition in different productive contexts and audiovisual outputs.
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In this paper, the territorial frameworks are set with the aim of forming a regional historical synthesis dedicated to the creation of art music in Vojvodina, a synthesis that differs from those offered in previous music historiographies. It can be said that the composers who greatly contributed to the development of the musical life of the Vojvodina communities in the interwar period have made modest contributions to the “local type” musical modernism. In the second half of the 20th century, they were involved in determining the place of “new music” within modernism and realism in the Cold War period. The Serbian National Theatre, the Association of Composers of Vojvodina and the Academy of Arts in Novi Sad gave support to compositional practice in Vojvodina after the Second World War.
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Review of: Music in Postsocialism: Three Decadesin Retrospect. Editors: Biljana Milanović, Melita Milin and Danka Lajić Mihajlović Belgrade: Institute of Musicology of SASA, 2020. ISBN 978-86-80639-60-4.
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Review of: Playing Multipart Music: Solo and Ensemble Traditions in Europe. European Voices IV. Editors: Urlich Morgenstern and Ardian Ahmedaja Wien-Köln: Böhlau Verlag, 2022. ISBN 978-3-205-21409-0.
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