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Колико (не) знамо о руско-српским појачким везама

Author(s): Vesna Sara Peno / Language(s): Serbian Issue: 28/2020

There are still no argumentative answers about the extent to which and in what way the share of Russian singing practice in Serbian church singing is present. The ways in which the Serbian melody reached Russian singers are not known either. The paper presents the results of research on Russian notated collections kept in Serbian libraries are also presented. Certain stereotypes regarding the crucial Russian influence on the newer Serbian church singing have been critically considered. New research tasks related to Russian musical manuscripts are listed, after which the exchange of singing experiences between Russian and Serbian church singers will become clearer.

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„Руски хор који Русија није чула“: Хор донских козака Сергеја Жарова на концертној сцени међуратног Београда

Author(s): Marija Golubović / Language(s): Serbian Issue: 28/2020

After the October Revolution, the Russian tradition of spiritual and folk choral singing was introduced to the whole world by the active work of choirs that appeared in exile. The Don Cossack Choir Sergei Jaroff and the Metropolitan Choir of Alexander Nevsky Cathedral in Paris under Nikolai Afonsky, were two unique choirs that stood out over time. During the interwar period Jaroff ’s Choir performed ten times in Belgrade with great success. The capital’s press announced them with great enthusiasm and the first Belgrade concert attracted the attention of significant critics such as Miloje Milojević, Branko Dragutinović,Viktor Novak, Jovan Dimitrijević and Petar Bingulac. The day after their first concert in Belgrade in January 1929, The Don Cossack Choir Serge Jaroff attended a reception at the King Alexander’s Court, who honored them on this occasion.

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„Tote aber leben länger“. The Second Viennese School and its Place in the Reflections of Selected Composers from the Second Half of the Twentieth Century (Lutosławski, Ligeti, Lachenmann, Harvey

Author(s): Ewa Schreiber / Language(s): English Issue: 28/2020

The juxtaposition of classicism and actuality is a good description of the ambiguous position occupied by the Second Viennese School not only in the eyes of the scholars who research it, but also of composers who can be regarded as its successors. However, in the works and writings originating from the Second Viennese School we find a concentration of problems encountered by contemporary composers, especially the modernist ones. The aim of this article is to examine the role played by the representatives of the Second Viennese School in the reflections of selected twentieth-century composers, concerning their place in music history, the expressive categories present in their work, and their ambiguous attitude to tonality. A separate subject to be explored is the discourse used by contemporary composers to describe the music of their predecessors, full of both analytical categories and vivid metaphors. The quoted composers (Witold Lutosławski, György Ligeti, Helmut Lachenmann and Jonathan Harvey) may be identified with more-or-less radical modernist views. This article is guided by the thinking of Gianmario Borio and the idea of “historical appropriation”, according to which analysis of the works of the past helps composers to create their own artistic identities and to define their own place in the history of music.

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Ивана Весић, Весна Пено - Између уметности и живота. O делатности удружења музичара у Краљевини СХС/ Југославији

Author(s): Sonja Cvetković / Language(s): Serbian Issue: 28/2020

Review of: Ивана Весић, Весна Пено Између уметности и живота. O делатности удружења музичара у Краљевини СХС/ Југославији. Београд: Музиколошки институт САНУ, 2017. ISBN: 978-86-80639-35-2.

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Весна Микић

Author(s): Bojana S. Radovanović / Language(s): Serbian Issue: 28/2020

In memoriam Vesna Mikić (Beograd, 30. maj 1967 – Beograd, 30. oktobar 2019).

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The Balzan Musicology ProjectTowards a global history ofmusic, the Study of Global Modernisation, and Open Questions for the Future

Author(s): Reinhard Strohm / Language(s): English Issue: 27/2019

The contribution outlines the Balzan Musicology Project (2013–2017) and the published papers arising from its 14 international workshops on global music history. T e approach of the project is described as post-eurocentric, uniting music history and ethnomusicology. 29 of the papers address processes of music and modernisation in many countries, pinpointing not only ‘Westernisation’ but also transculturalism and transnational media. Open questions for a future musicology concern the history concept itself, and the fair distribution of resources and sharing opportunities to all those concerned.

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The Many Faces of Everyday Musical Life. Approaching Music History from “Below”

Author(s): Martin Loeser / Language(s): English Issue: 27/2019

Is it useful to write history on everyday musical life? And how can we do it? T is article introduces a historiographical concept initiated by historians such as Carlo Ginzburg, Alf Lüdtke and Richard van Dülmen already in the 1970s, in an at empt to renew the writing of history. Instead of the reconstruction and interpretation of grand narratives and deep structures in society, economy and culture, these historians offer close descriptions of ‘average citizens’ with their daily musical routines, motivations and preferences, and the result is of en a cluster of fascinating and wide-ranging insights into dif erent forms of contact with music. Following this general approach, I hope to of er a panorama of everyday musical culture in Hamburg in the early eighteenth century. T e sources used for this study include dif erent musical genres such as opera, cantata and instrumental ‘table music’, as well as books, newspaper reports, subscription lists, diaries, behavioural guides and archival documents. This material permits insights into the uses made of musicians such as Johann Mattheson, Georg Philipp Telemann and Reinhard Keiser, as well as into the social lives of the Hamburg citizenship.

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Taking the Provinces Seriously

Author(s): Katharine Ellis / Language(s): English Issue: 27/2019

Using France as a case-study, this essay calls for enhanced recognition of cultural variegation within nation states in the era of European Romantic nationalism. It outlines a new, integrated and comparative approach to the study of provincial music in a context where national centralisation is the norm. T e situation in France, especially during the height of the “provincial awakening” around 1900, is analysed in light of the ideas of Ivo Strecker and Joep Leerssen on regionalism and ethnic nationalism, and alongside broader questions of cultural decentralisation. Particular attention is drawn to the challenges posed by borderlands, by the intersection of cultural and political ideas, and by the dangers of false separations between high and low cultures at local level.

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A Music History with Love? The Hits, the Cults, and the Snobs

Author(s): Marina Frolova-Walker / Language(s): English Issue: 27/2019

In this article I refer to a number of examples of powerful manifestations of love for music that routinely fall under the radar of music historians. One of these is the present case study: the 'tenor cult' as a prominent feature of Soviet culture in the 40s and 50s. Discouraged by the authorities and scorned by critics, it led to extravagant behaviour that may seem anomalous for such a regimented society. T is potent love for both music and performer was largely female-driven, and it delivered formative, life-def ning experiences for many of the participants. I test the suitability of the concept of “the middlebrow” for analysing this phenomenon and investigate how such studies can contribute to the project of a listeneroriented music history.

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Ancient Greek rhythmsin Messiaen’s Le sacre: Nietzsche’s legacy?

Author(s): Wai-Ling Cheong / Language(s): English Issue: 27/2019

It is lit le known that Nietzsche – appointed professor of classical philology at Basel University in his twenties – had postulated on the basis of rigorous textual studies that the leading classical philologists active in Central Europe in the nineteenth century, predominantly German-speaking, had gone seriously of -track by ft ing Greek rhythms into measures of equal length. Unlike the philologists, inf uential musicologists who wrote about ancient Greek rhythms were mostly French. The Paris Conservatoire was a powerhouse of rhythmic theory, with an impressive lineage from Fétis and Gevaert through Laloy and Emmanuel to Messiaen and beyond. Fétis and Gevaert referenced their contemporary German philologists without really critiquing them. With Laloy, Emmanuel, and Messiaen, however, there was a notable change of orientation. T ese authors all read as if they had somehow become aware of Nietzsche’s discovery. Yet none of them make any mention of him whatsoever. In this study, a comparative analysis of their musical rendition of Greek rhythms is undertaken before focusing on Messiaen’s analytical proposal that there is an impressively long series of Greek rhythms in Stravinsky’s Le sacre du printemps. I seek to throw light on the resurgence of interest in ancient Greek rhythms in modernist musical works, and question how the convoluted reception of Nietzsche’s discovery in Parisian music circles might have sparked rhythmic innovation to new heights.

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The “Serbian Connection” in the Age of the Beat Revolution in Hungary

Author(s): Iván Miklós Szegő / Language(s): English Issue: 27/2019

The music market of Hungary was manipulated by state authorities and the communist party from the 1960s until the 1980s. T at distorted environment is the reason why the careers of two of the greatest Hungarian beat stars of the Sixties dif ered so much: Levente Szörényi and Zorán Sztevanovity were both partially or fully of Serbian origin, both were lead singers of their bands, and both were (in the f rst phase of their career) very careful with politics; however, their Serbian heritage and their family experiences were totally dif erent, which explains their dif erent behaviour during and af er the Beat Revolution in Hungary.

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Ангажман у музичкој критици: написи Павла Стефановића у Музичком гласнику (1938–1940)

Author(s): Aleksandar Vasić / Language(s): Serbian Issue: 27/2019

Pavle Stefanović (1901–1985) is one of the most prominent Serbian music critics and essayists. He created extensive musicographic work, largely scattered in periodicals. A philosopher by education, he had an excellent knowledge of music and its history. His style was marked by eloquence, associativity and plasticity of expression. Between 1938 and 1940 he published eighteen music reviews in T e Music Herald, the longest-running Belgrade music magazine in the interwar period (1928–1941, with interruption from 1934 to 1938). Stefanović wrote about concerts, opera and ballet performances in Belgrade, performances by local and eminent foreign artists. His reviews include Magda Tagliaferro, Nathan Milstein, Jacques T ibaud, Enrico Mainardi, Bronisław Huberman, Alexander Uninsky, Alexaner Borovsky, Ignaz Friedman, Nikita Magalof and many other eminent musicians. T is study is devoted to the analysis of the Stefanović’s procedure. Pavle Stefanović was an anti-fascist and lef ist. He believed that the task of a music critic was not merely to analyze and evaluate musical works and musical interpretations. He argued that the critic should engage in important social issues that concerned music and music life. T at is why he wrote articles on the occasion of German artists visiting Belgrade, about the persecution of musicians of Jewish descent and the cultural situation in the T ird Reich. On the other hand, Stefanović was an aesthetic hedonist who expressed a great sense of the beauty of musical works. T at duality – a socially engaged intellectual and a subtle „enjoyer” of the art – remained undisturbed. In these articles he did not go into a deterministic interpretation of the structure of musical composition and the history of music. And he did not accept the larpurlartistic views.

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Mokranjac on Repeat: Reaffirming Musical Canon Through Sound Recordings (PGP-RTB/RTS Discography)

Author(s): Biljana Milanović,Marija Maglov / Language(s): English Issue: 27/2019

Starting with the hypothesis that sound recordings published by the Serbian/ Yugoslav record label PGP-RTB/RTS dominated programmes of the Radio Television Belgrade/Radio Television Serbia during most of the twentieth century (while declining in this century), and that decisions made within the label on which composers’ works were going to be (repeatedly) present in its catalogue consequently had signif cant impact on overall music and media culture in Serbia/Yugoslavia, our goal was to examine how the central composer f gure of Serbian music, Stevan Stojanović Mokranjac, was represented in this catalogue. Research methods were based primarily on analysis of archive material gathered in documentation of the label itself, data on recordings available via online music databases, and recordings themselves, while relying on theoretical notions of canon in music, with the accent on the performing canon.

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О сакралном значењу музичког инструмента и улози пророка Давида у сцени Смрт праведника. Прилог проучавању ликовних представа музичких инструмената у источнохришћанској црквеној уметности

Author(s): Anđela Gavrilović / Language(s): Serbian Issue: 27/2019

The Old Testament prophet David was known in sacred history as the King of Jews, as a prophet, the compiler of the Psalter, but also as a musician. Therefore, he is usually depicted with certain musical instruments in his hands in Eastern Christian art that illustrates sacred history or the biblical narrative. Although the representations of musical instruments in the art of the lands under the Byzantine cultural and spiritual inf uence have been minutely analysed, the existing art still provides opportunities for further research. Until present day most atention was given to the organographic analysis of the musical instruments (M. Velimirović, D. Dević, R. Pejović), while their meaning and the role in the scenes have remained insuf ciently addressed. T e scene analysed in this paper allows for both types of analysis. What is interesting from the iconographic and organographic point of view is the fact that the musical instruments with which Emperor David is portrayed in the scenes of the Death of the Righteous man are different. On this occasion, we will look at scenes of the Death of the Righteous man in the time span from the thirteenth to the seventeenth centuries in Byzantine art, as well as Serbian, Russian and Romanian ecclesiastical art after 1453 from the aspect of iconography. Special attention will be paid to the justif cation of the reasons for the appearance of certain instruments in the hands of King David, as well as their meanings.

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Music History and the Historicist Imagination: Revisiting Carl Dahlhaus and Leo Treitler

Author(s): Žarko Cvejić / Language(s): English Issue: 26/2019

This text offers a discussion and reappraisal of the historical impact of the Prussian historical school in general and of historicism in particular, epitomised in the works of Leopold von Ranke and Johann Gustav Droysen, on the historiography of music, as diagnosed by Carl Dahlhaus and Leo Treitler in Foundations of Music History and Music and Historical Imagination, with special focus on the distinction between historicism and Treitler’s “neopositivism”, its role and those of narrativity, aesthetics, and the work concept in music historiography.

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Phenomenon of the Baltic Singing Revolution in 1987–1991: Three Latvian Songs as Historical Symbols of Non-Violent Resistance

Author(s): Jānis Kudiņš / Language(s): English Issue: 26/2019

The denomination singing revolution (coined by Estonian artist Heinz Valk, b. 1936) is commonly used for events in Baltic States between 1987 and 1991 that led to the restoration of the independence of Estonia, Latvia and Lithuania. Three songs – the folk song Pūt, vējiņi! (Blow, Wind!), the choir song Gaismas pils (The Castle of Light) by the national classical composer Jāzeps Vītols (1863–1948) and the song Saule, Pērkons, Daugava (Sun, Thunder, Daugava) by the composer Mārtiņš Brauns (1951) – at that time in Latvia had a special significance in society. Each song represented references to different layers in Latvian cultural and political history. The characteristics of the three songs in the Singing Revolution process are based on the approach and methodology of distant (objective) analysis of cultural context and recent historical experience. As a result, this article reveals the meaning and reception of the three songs as symbols of nonviolent resistance during the fall of communist regime in Latvia in the late 1980s.

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Милорад Лонић-Кореографија. Традиционални плес на сцени

Author(s): Svetlana Đačanin / Language(s): Serbian Issue: 26/2019

Review of: Милорад Лонић-Кореографија. Традиционални плес на сцени. Нови Сад: Матица српска, 2018 ISBN 978-86-7946-230-5.

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O љубави према (пост)опери

Author(s): Jelena Janković-Beguš / Language(s): Serbian Issue: 26/2019

Review of: Jelena Novak - Operofilia Beograd, Orion Art, 2018. ISBN 978-86-6389-088-6.

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Соња Маринковић и Јелена Јанковић-Бегуш (ур.) О укусима се расправља. Павле Стефановић (1901–1985)

Author(s): Katarina Tomašević / Language(s): Serbian Issue: 26/2019

Review of: Соња Маринковић и Јелена Јанковић-Бегуш (ур.) О укусима се расправља. Павле Стефановић (1901–1985). Београд, Музиколошко друштво Србије и Факултет музичке уметности, Катедра за музикологију, 2017. ISBN 978–86–87757–08–0.

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The Trieste Philharmonic in Serbia

Author(s): Nejc Sukljan / Language(s): English Issue: 25/2018

This paper discusses the Trieste Philharmonic Orchestra’s tour in Serbia in the spring of 1946 and its political connotations. A sketch of the orchestra’s foundation in the context of the concurrent political efforts to solve the Trieste question is then followed by a detailed outline of the journey itself, presented from the two points of view. First, the perspective of the Yugoslav authorities is illustrated and then an insight into musician’s everyday life during the tour is given.

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