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Методолошки диспути о тумачењу неумске нотације у XX веку

Методолошки диспути о тумачењу неумске нотације у XX веку

Author(s): Vesna Sara Peno / Language(s): Serbian Issue: 18/2015

Until the end of the twentieth century in Byzantine musicological science there were two diametrically opposite approaches to the interpretation of the Byzantine neum notation systems and post-Byzantine music heritage after the Fall of Constantinople. Western European scholars, ignoring the post-Byzantine Chant tradition and the last semeography reform from the early nineteenth century, looked at the problems of the musical past only from the perspective of the Middle Ages. Greek researchers have shared the belief that the condition of an adequate understanding of the mid-Byzantine notation, or the so-called old method, is the knowledge of analytical neum system and theory, the basics of which were set up by musicians from the end of the seventeenth and during the eighteenth century, and were finally shaped by Chrisantos, Gregory and Chourmouzios and officially accepted in the Greek church in 1814. The path to overcoming the issues relating to the development of neum notation, and finding an adequate manner of decoding it, led through the understanding of the phenomenon of “interpretation” and other tendencies that marked the post-Byzantine music practice. Two scientists –the Danish Jørgen Raasted, a follower of the Western European musicological methods established by founders of Monumenta Musicae Byzantinae, and Greek theologist and musicologist Gregory Stathes – are specifically responsible for the reconciliation of the different methodological approaches. After numerous and often heated debates, the Danish scientist eventually largely accepted the views of his Greek counterpart. Moreover, he himself insisted, at the musicological conferences organized during the 1980s, on reviewing the controversial issues: the existence of chromatic intervals in the psalmody of the Middle-Ages, the problem of syllabic and melismatic interpretations of stenographic neum records, and so on. Concerning the above mentioned issues, the contemporary trends in Byzantine musicology are presented in the conclusion of the paper. It is worth noting that the most influential scholars nowadays follow “a middle path”, the distinction between the once exclusive Western option and the no less “hard” Greek traditional option.

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Imaging Dance. Visual Representations Of Dancers And Dancing

Imaging Dance. Visual Representations Of Dancers And Dancing

Author(s): Selena Rakočević / Language(s): Serbian Issue: 18/2015

Review of: Imaging Dance.Visual Representations Of Dancers And Dancing. Barbara Sparti & Judy Van Zile (eds.) with Elsie Ivancich Dunin, Nancy G. Heller & Adrienne L. Kaeppler Hildesheim-Zürich-New York: Georg Olms Verlag, 2011.

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Vladimir Tošić - Vokalni kontrapunkt renesanse

Vladimir Tošić - Vokalni kontrapunkt renesanse

Author(s): Dejan Despić / Language(s): Serbian Issue: 18/2015

Review of: Vladimir Tošić - Vokalni kontrapunkt renesanse. Beograd: Fakultet muzičke umetnosti, 2014.

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Имагинарни музеј мокрањчевих дела: снимци световне хорске музике

Имагинарни музеј мокрањчевих дела: снимци световне хорске музике

Author(s): Aleksandar Vasić / Language(s): Serbian Issue: 18/2015

Review: Имагинарни музеј мокрањчевих дела: снимци световне хорске музике. Двоструки компакт-диск Мелита Милин (ур.), Биљана Милановић (прир.) Београд: Музиколошки институт САНУ - Радио Београд, Едиција „Пробуђени архив”, 2014.

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Między Kommune 1 a „niedzielną
pieczenią”. Krautrock w świetle
koncepcji komunizmu kwasowego

Między Kommune 1 a „niedzielną pieczenią”. Krautrock w świetle koncepcji komunizmu kwasowego

Author(s): Kamil Idzikowski / Language(s): Polish Issue: 40/2021

The article examines selected phenomena of the so-called krautrock, i.e.West German rock music of the late 1960s and the 1970s. The analysis is based onMark Fisher’s concept of acid communism and the related issue of collective sub-jectivity. The author distinguishes two opposing tendencies in the music discussed,the first one being the fascination with the collective that goes back to the studentprotests of 1967–1968, and the second one being the (re)appreciation of individualperspective, which manifested itself e.g. in an increased interest in spirituality anda certain kind of social criticism performed from a distanced position. Focusing onthe relationship between the individual and the group, the article analyzes a numberof songs and albums that have received little or no attention from researchers up tonow.

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Performance of Musical Scale in Lithuanian Homophonic Singing

Performance of Musical Scale in Lithuanian Homophonic Singing

Author(s): Rytis Ambrazevičius / Language(s): English Issue: 17/2014

Acoustical measurements of pitches in a dozen songs exemplifying the Lithuanian traditional vocal homophony were carried out. Several phenomena were revealed. First, the entire scales experience gradual transposition (rise) from the beginning to the end of the song performances. Second, the transposition is supplemented with the gradual shrinking of the musical scales (the intervals become narrower). Third, the intonations of the scale degrees are dynamic, i.e. they depend on the musical (both melodic and harmonic) contexts. Fourth, the versions of musical scales work as certain markers for the idiolects (further studies could show if this might be extrapolated to the realm of dialects). All these insights raise issues about the perceptual qualities of the musical scales and their manifestations in the performance.

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The Live Album or the Many Ways of Representing Performance

The Live Album or the Many Ways of Representing Performance

Author(s): Sergio Mazzanti / Language(s): English Issue: 17/2014

The analysis of live albums can clarify the dialectic between studio recordings and live performances. After discussing key concepts such as authenticity, space, time and place, and documentation, the author gives a preliminary definition of live albums, combining available descriptions and comparing them with different typologies and functions of these recordings. The article aims to give a new definition of the concept of live albums, gathering their primary elements: “A live album is an officially released extended recording of popular music representing one or more actually occurred public performances”.

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Performing Sound of the Past: Remix in Electronic Dance Music Culture

Performing Sound of the Past: Remix in Electronic Dance Music Culture

Author(s): Irina Cvijanović / Language(s): English Issue: 17/2014

The term remix, defined as an activity of taking data from pre-existing materials to combine them into new forms according to personal taste, relates to various elements and areas of contemporary culture. Whichever model used, consideration of the remix depends on recognition of pre-existing cultural codes. Therefore, as a second layer, the remix relies on the authority of the original and it functions at the meta-level. The audience may see a trace of history with the pre-existing object and the meaning creates in the viewer(s), reader(s), listener(s) or, in the contemporary world of DJs and popular electronic dance music culture – in dancer(s). With the aim of specifying modes of creating particular ambients, this paper will consider and examine the song Why Don’t You? remixed by Marko Milićević, a Serbian DJ also known as Gramophonedzie, and illuminate how material from the past can create a constructive (musical) dialogue.

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О вишегласју у богослужбеној пракси православних Грка и Срба – теолошкокултуролошки дискурс

О вишегласју у богослужбеној пракси православних Грка и Срба – теолошкокултуролошки дискурс

Author(s): Vesna Sara Peno / Language(s): Serbian Issue: 17/2014

In 1844, Serbian patriarch Josif Rajačić served two central annual Liturgies, at the feasts of Pasha and Penticost, in the Greek church of Holy Trinity in Vienna; these were accompanied by the four-part choral music. The appearance of new music in several orthodox temples in Habsburg Monarchy (including this one) during the first half of the nineteenth century, became an additional problem in a long chain of troubles that had disturbed the ever imperiled relations between the local churches in Balkans, especially the Greek and Serbian Orthodox. The official epistle that was sent from the ecomenical throne to all sister orthodox churches, with the main request to halt this strange and untraditional musical practice, provoked reactions from Serbian spiritual leader, who actually blessed the introduction of polyphonic music, and the members of Greek parish at the church of St. George in Vienna, who were also involved with it. The correspondence between Vienna and Constantinople reflected two opposite perceptions. The first one could named “traditional” and the other one “enlightening”, because of the apologies for the musical reform based on the unequivocal ideology of Enlightenment. In this article the pro et contra arguments for the new music tendencies in Greek and Serbian orthodox churches are analyzed mainly from the viewpoint of the theological discourse, including the two phenomena that seriously endangered the very entity of Orthodox faith. The first phenomenon is the ethnophiletism which, from the Byzantine era to the modern age, was gradually dividing the unique and single body of Orthodox church into the so-called “national” churches, guided by their own, almost political interests, often at odds with the interests of other sister churches. The second phenomenon is the Westernization of the “Orthodox soul” that came as a sad result of countless efforts of orthodox theological leaders to defend the Orthodox independence from the aggressive Roman Catholic proselytism. “The Babylonian captivity of the Orthodox church”, as Georg Florovsky used to say, began when Orthodox theologians started to apply the Western theological methods and approaches in their safeguarding of the Orthodox faith and especially in ecclesiastical education. In this way the new cultural and social tendencies which gripped Europe after the movements of Reformation and Contra-Reformation were adopted without critical thinking among Orthodox nations, especially among the representatives of the Ortodox diaspora at the West. Observed from this extensive context, the four-part music in Orthodox churces in Austria shows one of many diverse requirements demanded from the people living in a foreign land, in an alien and often hostile environment, to assimilate its values, in this case related to the adoption of its musical practices.

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Два погледа на југословенство у српској музичкој периодици међуратног доба

Два погледа на југословенство у српској музичкој периодици међуратног доба

Author(s): Aleksandar Vasić / Language(s): Serbian Issue: 17/2014

This study explores the relationship between the Yugoslav ideology as exhibited in Serbian music magazines published between the two world wars. These are the following journals: Music (1928–1929), Bulletin of the Music Society „Stanković” (1928–1934, 1938–1941; in January 1931 it was renamed The Musical Gazette), The Sound (1932–1936), Herald of the South Slavic Choral Union (1935–1936, 1938), Slavic music (1939–1941) and Review of Music (1940). I have excluded the magazine Musical Gazette (1922) from consideration because I have already discussed its ideological aspects in an earlier article (2009). Yugoslav topics in interwar music periodicals are addressed in an ecstatic tone by the music writers and editors (particularly immediately after the foundation of the Kingdom of Serbs, Croats and Slovenes); one also observes open dissent and criticism of undesirable, wasted tendencies. Signs of profound differences with respect to the fundamental aspect of Yugoslav ideology – i.e. on the question of the nature and degree of the unity of nations under the auspices of the ideology, appeared relatively early in these journals. I argue that three elements: open enthusiasm, criticism/polemic and fundamental differences, constituted a framework within hich the Yugoslav ideology was expressed in the Serbian musical periodicals. The third aspect has proved to be crucial. One could observe two different and even opposing views on the Yugoslav ideology. While some musicians strongly advocated integral Yugoslavism, others wanted the preservation of distinctive national features within this ideology. This division is illustrated by the writings of Croatian composer and ethnomusicologist Božidar Širola and Serbian composer and music critic Milenko Živković. The division in question culminated in the case of the South Slavic Choral Union, which Croatian Choral Union refused to join. Hence, Serbian music periodicals provide an insight into the fundamental ideological and political problem of the Kingdom of Yugoslavia.

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Појава концепт албума у популарној музици Југославије: ЛП плоче Камен на камен

Појава концепт албума у популарној музици Југославије: ЛП плоче Камен на камен

Author(s): Jelena Jovanović / Language(s): Serbian Issue: 17/2014

It is commonly understood that a concept album is “a studio album where all musical or lyrical ideas contribute to a single overall theme or unified story” (Shuker 2002: 5). In this paper this term will be used to denote an album containing extra-musical themes and not simply collections of compositions defined only by genre or theme. In order for an album to belong to this category, it must have taken a thematic unity realized by the common content (thematically) of its compositions and common musical means. Although the beginnings of such creative trends can be traced from 1940, the 1960s and 1970s brought the most influential releases of this kind, especially The Beatles’ album Sgt. Pepper’s Lonely Hearts Club Band (1967), which has had a great impact on many authors. As far as is known, the topic of concept albums in Yugoslavia has not yet been elaborated, so this article seems to be the first dedicated to this subject. It seems that in Yugoslavia there had been albums with elements of concept released before the appearance of the Kamen na kamen group album in 1973, entitled LP-60993 (Zagreb: Jugoton). The author of the album was Nikola Borota Radovan. After that, a double LP by the same ensemble and songwriter appeared in 1975 entitled OOUR/AVNOJ (RTV Ljubljana), with even more clearly expressed characteristics of concept. The aim of this article is to show that the thematic and conceptual elements of these editions are firmly connected to those of the concept album. These LPs were formed within the following thematic and contextual frames: 1) Borota`s general inclination towards folklore tradition(s) as a permanent source of inspiration, 2) models among the greatest popular music works that influenced his writing projects, primarily The Beatles’ concept albums, and 3) social, economic and political circumstances in Yugoslavia at the time when these albums appeared. Even if it is not strictly a concept album in the full sense, the album LP60993 might be regarded as the first album with elements of concept published by a Yugoslav author, according to all the criteria and analyzed results. The elements that show a clear connection to the concept are as follows: leading subject(s)/idea(s) that demand(s) the order of compositions, organization of musical elements and motives on macro- and micro-levels (to produce formal and thematic unity), elements of narrative and musical/sound symbols, including elements of musique concrète.

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Институционализација етнокореологије у Србији: заоставштина Љубице Јанковић у Музиколошком институту САНУ

Институционализација етнокореологије у Србији: заоставштина Љубице Јанковић у Музиколошком институту САНУ

Author(s): Marija Dumnić,Danka Lajić Mihajlović / Language(s): Serbian Issue: 17/2014

Since 1964, the Institute of Musicology of the Serbian Academy of Sciences and Arts has been cherishing the official archive of the academician Ljubica Janković, ethnochoreologist, which originates from her service at the Ethnographic Museum in Belgrade (1939–1951). The legacy contains documentation about the activity of the Folk Dance Section of the Ethnographic Museum in Belgrade, and extensive data on folk dances in Yugoslavia from the first half of the twentieth century. This paper presents part of the archival documentation relating to the establishment and activity of the Folk Dance Section. It was the first state institution to collect primary and secondary research sources relating to folk dance structure and to the social context of a rural dance practice. Apart from that, it was the institution for education on folk dance preservation and staging. The focus of the paper is on the fundamental documents of ethnochoreological cultural and research policy in Serbia, manuscripts The Draft for Work at the Folk Dance Section of the Ethnographic Museum in Belgrade [Нацрт за рад у Отсеку народних игара при Етнографском музеју у Београду] (1939) and The Program for Work at the Department for Intangible Culture with the Sections: 1) Folk Dances and Folk Music; 2) Folk Literature; 3) Folk Art and Ornamentation; 4) Folk Customs and Religion; 5) Folk Medicine [Програм рада у Одељењу за духовну културу са Отсецима: 1) за народне игре и народну музику; 2) за народну књижевност; 3) за народну ликовну уметност и орнаментику; 4) за народне обичаје и веру; 5) за народну медицину] (1946). The aim of this study is to contribute to the history of ethnochoreology in Serbia by introducing the ideas of Ljubica Janković concerning folk dance research and preservation strategies because of their importance for the interpretation of numerous ethnochoreological and ethnomusicological theoretical and analytical results, mostly achieved in cooperation with her sister, Danica Janković. In addition, we indicate the applicability of the first official ethnochoreological ideas for current folk dance research in Serbia.

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Родна Величковска - Македонско традиционално народно певање: етномузиколошки огледи

Родна Величковска - Македонско традиционално народно певање: етномузиколошки огледи

Author(s): Mladen Marković / Language(s): Serbian Issue: 17/2014

Review of: Родна Величковска - Македонско традиционално народно певање: етномузиколошки огледи. Београд: Етнолошка библиотека, посебна издања, књ. 8, 2013. (212 страна, 59 музичких примера).

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Јелена Арнаутовић - Између политике и тржишта популарна музика на радио Београду у СФРЈ

Јелена Арнаутовић - Између политике и тржишта популарна музика на радио Београду у СФРЈ

Author(s): Ivana Medić / Language(s): Serbian Issue: 17/2014

Review of: Јелена Арнаутовић - Између политике и тржишта популарна музика на радио Београду у СФРЈ. Београд: Радио телевизија Србије, 2012, 251 стр.

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Analytical and Cross-Cultural Studies in World Music

Analytical and Cross-Cultural Studies in World Music

Author(s): Marija Dumnić / Language(s): Serbian Issue: 17/2014

Review of: Analytical and Cross-Cultural Studies in World Music. Michael Tenzer, John Roeder (ур.) Oxford University Press, 2011, стр. Х+461.

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Beyond Reproduction: Semiotic Perspectives On Musical Performance

Beyond Reproduction: Semiotic Perspectives On Musical Performance

Author(s): Nicholas Cook / Language(s): English Issue: 16/2014

The traditional musicological conception of performance is as the reproduction of pre-existing texts. This makes no allowance for the extent to which meaning emerges from the act of performance, and from the interactions between the various participants in performance events. A broadly semiotic approach focusses attention on such issues, and in this article I illustrate such an approach in terms of the communicative function of the mazurka ‘script’ and the role of performance gesture in conditioning musical meaning. I argue that, instead of thinking in terms of the reproduction of works, it is better to borrow Jeff Pressing’s term and think in terms of performances referencing scores, traditions, and other pre-existing entities: this way it is possible to conceptualise performances that range from the Werktreue ideology or tribute bands to parody or burlesque. Discourses of the relationship between works and performances are mirrored by those between performances and recordings, and consideration of the latter helps to clarify features shared by both: creativity, collaboration, and semiosis.

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Creating Haydn’s Sonatas at the Keyboard – Performer Rights and Responsibilities in Historical Performance

Creating Haydn’s Sonatas at the Keyboard – Performer Rights and Responsibilities in Historical Performance

Author(s): John Irving / Language(s): English Issue: 16/2014

In April 2014, fortepianist and Mozart specialist John Irving recorded a CD of solo keyboard sonatas by Joseph Haydn, using a modern copy of a Viennese fortepiano of Haydn’s era. This is an account of the project written from the performer’s perspective, examining some relevant issues of historical performance practice, organology, and detailed reflections upon the performer’s preparations (of various musical and technical kinds) for the recording.

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Reception of Stevan Stojanović Mokranjac’s composing creativity in the musical life of Bosnia and Herzegovina: Austro-Hungarian period

Reception of Stevan Stojanović Mokranjac’s composing creativity in the musical life of Bosnia and Herzegovina: Austro-Hungarian period

Author(s): Lana Paćuka / Language(s): English Issue: 16/2014

With the arrival of the Austro-Hungarian Monarchy, Bosnia and Herzegovina encountered Western European social trends, which affected the shaping of musical life physiognomy in the late nineteenth and early twentieth century. In this extremely intricate relationship between national and pro-European-oriented cultural trends, Serbian composer Stevan Stojanović Mokranjac had a special position as a unique musical phenomenon, since he was a composer whose musical talent imposed itself as an authority in strengthening the national musical expression and serving as a guideline for numerous BH artists.

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Selena Rakočević, Tradicionalne igre banatskih Srba

Selena Rakočević, Tradicionalne igre banatskih Srba

Author(s): Zdravko Ranisavljević / Language(s): English Issue: 16/2014

Review of: Selena Rakočević, Tradicionalne igre banatskih Srba. Pančevo: Pančevo Cultural Centre and Pančevo City Library, 2012.

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Опере Петра Коњовића у едицији Пробуђени архив

Опере Петра Коњовића у едицији Пробуђени архив

Author(s): Aleksandar Vasić / Language(s): Serbian Issue: 16/2014

Review of: Петар Коњовић Женидба Милошева & Сељаци (двоструки компакт-диск) Д. Петровић (ур.), М. Милин (прир.) Београд: Музиколошки институт САНУ – Радио Београд.

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