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Даворин Јенко и Стеван Ст. Мокрањац. Биографски фрагменти. Прилог култури сећања

Даворин Јенко и Стеван Ст. Мокрањац. Биографски фрагменти. Прилог култури сећања

Author(s): Katarina Tomašević / Language(s): Serbian Issue: 16/2014

This paper contributes to the marking of the centenary of the death of two significant composers and conductors – Davorin Jenko (1835–1914) and Stevan St. Mokranjac (1856–1914). Although belonging to different generations, Jenko and Mokranjac were simultaneously active in Serbian culture over the course of almost four decades. This was a very dynamic and fruitful period, marked by historical and political unrests and by the intense processes of searching for Serbian national/ cultural identity. Divided into several fragments, the article identifies the points of intersection in their biographies, examining the delicate nature of their relationship in the context of the discourses of nationalism. Special attention is paid to the facts from the history of the Belgrade Singing Society and the National Theatre, but also to the manifestations by means of which a tradition of cultural remembrance of these two artists is maintained in Serbia in 2014.

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Музиколошки институт Српске академије наука и уметности (1948–2010)

Музиколошки институт Српске академије наука и уметности (1948–2010)

Author(s): Danica Petrović / Language(s): English,Serbian Issue: 10/2010

The article gives an overview of the early days of the Institute, then proceeds to explain the development of the research projects, the further education of research members of the Institute and finally the results of the Institute’s work in various fields: research, publishing, building of archival collections, popularisation of research. We also learn about the various organisational changes that have taken place over the last decades and the developed collaboration with other institutions. The article also provides information about well known musicologists, ethnomusicologists, slavists and composers who worked with and visited the Institute.

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Биографије и Библиографије

Биографије и Библиографије

Author(s): Not Specified Author / Language(s): English,Serbian Issue: 10/2010

Biographies and Bibliographies: Stana Đurić-Klajn; Milica Ilijin; Dragutin Gostuški; Dimitrije Stefanović; Radmila Petrović; Nadežda Mosusova; Ana Matović; Danica Petrović; Melita Milin; Katarina Tomašević; Vesna Peno; Jelena Jovanović; Danka Lajić–Mihajlović; Aleksandar Vasić; Biljana Milanović; Rastko Jakovljević; Nataša Marjanović;

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Поздравно слово академика Димитрија Стефановића, генералног секретара САНУ, дугогодишњег сарадника и директора Института

Поздравно слово академика Димитрија Стефановића, генералног секретара САНУ, дугогодишњег сарадника и директора Института

Author(s): Dimitrije Stefanović / Language(s): Serbian Issue: 10/2010

Поводом обележавања шест деценија рада Музиколошког института САНУ, 6. новембра 2008. године у Свечаној сали САНУ приређена је академија на којој су говорили академик Димитрије И. Стефановић, генерални секретар САНУ, академик Дејан Деспић, секретар Одељења ликовне и музичке уметности и др Даница Петровић, директор Института. У холу испред Свечане сале приређена је изложба књига које је Институт издао током шест деценија рада. У оквиру прославе снимљен је и на овој свечаности први пут приказан филм Од сећања ка будућности. Филм је снимљен у сарадњи са Телевизијом Београд, а аутори сценарија су биле др Даница Петровић и др Снежана Николајевић. Поводом прославе организована су у Галерији САНУ четири концерта, на којима су представљени различити жанрови у српској музици од средњег века до данас.

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Реч композитора, академика Дејана Деспића, секретара Одељења ликовне и музичке уметности САНУ

Реч композитора, академика Дејана Деспића, секретара Одељења ликовне и музичке уметности САНУ

Author(s): Dejan Despić / Language(s): Serbian Issue: 10/2010

Када је пре шездесет година Петар Коњовић покренуо иницијативу за оснивање Музиколошког института, наша музичка наука – у иоле озбиљном смислу – била је такорећи у повоју, што не значи потцењивање претходних, ретких покушаја појединаца да у том смеру понешто допринесу. Коњовић је дакле, морао имати добру визију предстојећег времена, у којем ће се та наука (која и у светском контексту спада међу релативно млађе) нагло развијати и ширити подручја и методе својих истраживања.То се управо и догодило, и догађа се и у нашој средини током друге половине прошлог века и почетком новог.

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Програми четири концерта одржана у Галерији САНУ поводом јубилеја .

Програми четири концерта одржана у Галерији САНУ поводом јубилеја .

Author(s): Not Specified Author / Language(s): Serbian Issue: 10/2010

Programs of four concerts held in the SANU Gallery on the occasion of the jubilee.

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Атина – нова престоница традиционалне грчке музике (Сведочанства о музичком животу с почетка XX века)

Атина – нова престоница традиционалне грчке музике (Сведочанства о музичком животу с почетка XX века)

Author(s): Vesna Sara Peno / Language(s): Serbian Issue: 9/2009

During its long Byzantine and Post-Byzantine history Constantinople was the center for church art in general, but especially for music. This old city on the Bosporus maintained its prime position until the beginning of the 20th century when, because of new political and social conditions, the Greek people started to acquire their independence and freedom, and Athens became the new capital in the cultural as well as the political sense. During the first decades of the 20th century the Athenian music scene was marked by an intensive dispute between those musicians who leaned towards the European musical heritage and its methods in musical pedagogy, and those who called themselves traditionalists and were engaged in the preservation of traditional values of church and folk music. The best insight into the circumstances in which Greek musical life was getting a new direction are offered by the numerous musical journals published in Athens before the First World War. Among them, The Formigs is of the special interest, firstly because of the long period during which it was published (1901–1912), and secondly because of its main orientation. The editor Ioannes Tsoklis, a church chanter, and his main collaborator, the famous Constantinopolitan musician and theorist and later Principal of the Department for Byzantine music at Athens musical school Konstantinos Psahos, with other associates, firmly represented the traditional position. That is why most of the published articles and the orientation of the journal generally were dedicated to the controversial problems and current musical events that were attracting public attention. The editorial board believed that there was a conection between the preservation of musical traditions and their development on one side, and foreign musical influences that were evident in the promotion of polyphonic church music, which had been totally foreign to the Greek Orthodox church until the end of the 19th century, on the other. Tsoklis and Psahos were resolved to provide enough reliable documented articles and theoretical and historical studies on church and folk music to pull up the church chanters and in such a way contribute to their better musical education. They assured that this would be the best way to attract and recruit church chanters struggling to maintain their own musical heredity. The Formigs thus served primarily in the socalled Greek music question, actuated with the aim of eliminating polyphonic music from liturgical practice. However, it also assisted in national endeavors to ensure that church and folk music would obtain separate status in official Greek musical education, which had been significantly changed by non-traditional, European methodology.

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Ethnomusicologists Researching Towns They Live in: Theoretical and Methodological Queries for a Renewed Discipline

Ethnomusicologists Researching Towns They Live in: Theoretical and Methodological Queries for a Renewed Discipline

Author(s): Samuel Araujo / Language(s): English Issue: 9/2009

This article focuses on theoretical and methodological implications of the 20th-century epistemic turn in the humanities towards a more self-critical and politicized approach to the production of knowledge in academia. It examines in particular their general impact on ethnography-based disciplines such as ethnomusicology, arguing that this is felt even more intensely in work being done in the cities the researchers live in, where their home institutions are based. The article then addresses methodological alternatives for ethnomusicology in the rather conflicting 21st century context, such as participatoryaction strategies eliciting new grounds for collaboration between academic and extra-academic perspectives, based on ongoing initiatives undertaken by an academic research collective in Rio de Janeiro, Brazil, which integrate political and academic dimensions in new disciplinary ways.

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Dead Public Spaces – Live Private Corners: (Re)Contextualization of Musically Public and Private

Dead Public Spaces – Live Private Corners: (Re)Contextualization of Musically Public and Private

Author(s): Rastko Jakovljević / Language(s): English Issue: 9/2009

The expressions of private and public musical life and experience are mostly discussed separately. This article joins these two concepts into one scope and surveys the identity of both. In ideal (utopian?) traditional context, between private and public music experience (life), the context shows ideal vitality and consistence, while in an ‘irregular’ context these two concepts begin to distance themselves, opening space for marginality or so called ‘errors’. This article studies bagpipe tradition in Serbia, at different stages of its development and in different periods, specifically focusing on rural and urban contexts in diverse sociopolitical conditions. Although bagpipe tradition still exists in Serbia it is far removed from what it once was, and the idea is to represent the contexts of that process, private and public, sociopolitical, and marginal aspects, from the 19th century (or hypothetically before then) until today.

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Светлост Слова у „музикословљу“ Љубице Марић

Светлост Слова у „музикословљу“ Љубице Марић

Author(s): Zorica Makević / Language(s): Serbian Issue: 9/2009

Ljubica Marić’s music provides manifold encouragements for consideration in the light of the Logos, according to the teaching exposed in the prologue of the Gospel by St. John. It speaks of the essential inconceivability of time and life, which have their cause in God and His Logos. Seeing through and praising ‘the logos of things’ guide all its aspects: the tone reveals itself as a vibration, as the energy of lasting and existing, as the beginning of every time and motion; the sonority of different instrumental media is freely expressed and mutually determined in co-action with specific musical and contextual moments; the rhythm evades every regularity and mechanicalness, by which both single durations and the whole metro-rhythmic course gain a vivid expression. The entire shape of the work is also taken from the reality of psychological and historical time, from its unreductable dynamics, being always in a vivid connection with the space, origin and tradition. The respect for ‘the truth of things’, the awe before the mystery of time and existence, which call upon the very principle of life in the divine Logos, are obvious in everything. Designation of man as a being of light and reason, created in the image of God to be the likeness of His being, is expressed in Ljubica Marić’s music by the measure of human pulse taken as the basic tempo of her entire opus. Ljubica Marić expressed her consciousness of the reason as a special gift to the man by extremely careful treatment of the words – its meanings, melodies, rhythms, which she always considered the very source of music. The relation between the word and the voice – its sonorous body – is shown in the cantata Songs of Space (1956) as a mystery of the encounter of the Logos and the matter. In relation to her earlier works, this one is a marked breakthrough of the composer’s authentic ‘voice’, which will find its full identity only after receiving the divine Word, symbolized by the melodies of the Serbian Octoechos in the cycle Musica Octoicha (1958–1963). Thus, Ljubica Marić’s music has entered its ‘New Testament’ time and become a specific story of the Logos and His presence in the world and history. In the opaque and dramatic course of that related musical time, the melodics of chanting is experienced as the manifestation of the light, meaning, reason, freedom, awe. These graceful effects bring into the work a certain beyond-time dynamics – inverse perspective of time – and, like a Byzantine church dome, they bear witness to the divine condescension. Ljubica Marić’s music is steeped in the mystery of the beginning and the end, which meet in eternity, in the One who is Alpha and Omega; in its one tone and in its entire course, it grasps the whole of time and existence – through the divine Word itself by which it has also been made.

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Al niente – над последњим опусом Василија Мокрањца – после четврт века

Al niente – над последњим опусом Василија Мокрањца – после четврт века

Author(s): Branka Radović / Language(s): Serbian Issue: 9/2009

This year we mark the 25th anniversary of the death of one of the most distinguished Serbian composers, Vasilije Mokranjac, whose diversified opus, of predominantly symphonic and piano music, greatly influenced on composers of his and subsequent generations. The last opus by this author is his Preludium for clarinet solo written a few months before the tragic death of the artist, who, in this as well as in his entire opus, expressed his anxiety over life and death, his wonder at the sense and absurdity of the things man does, the things he longs for and what he is preoccupied with. Written in a simple and clear form, the work carries traces of excitement, expressionism and neoromantic dualism which is the basic characteristics of Mokranjac’s composing handwriting.

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Mузички гласник“ (1922): естетички и идеолошки аспекти

Mузички гласник“ (1922): естетички и идеолошки аспекти

Author(s): Aleksandar Vasić / Language(s): Serbian Issue: 9/2009

The Music Herald was the first music magazine to appear in Belgrade after WWI. It was published monthly, for a year (January – December 1922). Its editor-in-chief was Petar Krstić, a composer. Other members of the editorial staff were Božidar Joksimović, Stevan Hristić, Kosta Manojlović (composers), Vladimir R. Đorđević (an ethnomusicologist) and Jovan Zorko (a violinist). Over 200 articles were published in the magazine. It dealt with different genres of music writings, such as articles, treatises, documents on the history of Serbian / Yugoslav music, music criticism, polemics, necrologies and bibliographies. Twenty-four compositions by native composers were published in the musical supplement of The Music Herald, among them the works of its editors as well as those of other Yugoslav musicians. The Music Herald dealt with three fields of interest: music historiography, ethnomusicology and the current topics of its epoch. When the magazine started, Serbian musicology was in its initial stage so the editors were trying to foster its development. They published numerous biographies of Serbian 19th century musicians, as well as documents on Serbian music culture during the reign of Prince Miloš Obrenović. Music folklore was also very often the subject of interest in the magazine. The Music Herald was interested in current topics and covered the Yugoslav music school system, opera houses, military music, music associations, etc. It was especially interested in choral societies, which in the course of the 19th century took up not only an artistic, but also a political and patriotic role in the liberation movement. After WWI, choral societies entered a period of crisis. Their political raison d’être was lost, so they were faced with the challenge of achieving higher professional standards. This study deals with two aspects of “The Music Herald”: aesthetic and ideological aspects. In terms of ideology, the magazine was strongly in favour of the Yugoslav idea. Its correspondents (more then 40 of them) came from all parts of the Kingdom of Serbs, Croats and Slovenes, as well as from abroad (Poland). The music culture of the Serbs, Croats and Slovenes was treated with equal enthusiasm. The articles were published in both Cyrillic and Latin script, and in two languages (Serbo-Croatian and Slovenian). The editors of The Music Herald were also Slavophiles. They wrote about Czechoslovakian and Polish music, and also covered the works of Russian musicians who had emigrated to Yugoslavia after the October Revolution in 1917. The so-called “national style” was fostered in The Music Herald, because it was believed by the editors to be the future of Serbian and Yugoslav music. Avant-garde music was treated with suspicion, although on one occasion a defense of contemporary music by Stanislav Vinaver, a writer and a music critic, was published. On the other hand, fostering the “national style” did not mean that moderate means of expression sufficed for the positive evaluation of a certain music piece. That is why the compositions of Petar Stojanović were judged as “drawing-room music”. Although it lasted for just one year, The Music Herald has an important place in the history of Serbian music periodicals. Its orientation towards music historiography is, in this respect, especially important. It blazed the trail for the Serbian musicology in its dealings with unknown music data in the past.

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Медитеран – извор музике и стремљења европске романтике и модерне, Љубљана, 11–12. март 2009

Медитеран – извор музике и стремљења европске романтике и модерне, Љубљана, 11–12. март 2009

Author(s): Marijana Kokanović Marković / Language(s): Serbian Issue: 9/2009

Овогодишњи ,,Словеначки музички дани“ (Slovenski glasbeni dnevi) отворени су у мариборском позоришту опером Једнорог Виктора Парме (Viktor Parma). Фестивал је протекао у знаку обележавања значајних годишњица: сто година од рођења композитора Б. Лесковица (Bogo Leskovic) и Р. Гобеца (Radovan Gobec), стопедесет година од рођења Р. Савина (Risto Savin), седамдесетпетог рођендана Л. Лебича (Lojze Lebič), те седамдесетог рођендана А. Ајдича (Alojz Ajdič). Као и претходних година, на концертним програмима нашла су се дела словеначких аутора млађе и старије генерације. Новину фестивала представља музичка радионица за децу, коју је ове године водио композитор У. Ројко (Uroš Rojko). Поред ученика музичких школа, у радионици су учествовали и студенти музичке педагогије и музикологије Филозофског факултета у Љубљани.

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Студије Балкана: Quo vadis?, Беч, 25. април 2009

Студије Балкана: Quo vadis?, Беч, 25. април 2009

Author(s): Tatjana Marković / Language(s): Serbian Issue: 9/2009

Основне смернице у размишљањима о одговору на питање из наслова скупа дали су Максимилијан Хартмут (Maximilian Hartmuth) и Karl Kazer (Karl Kaser) у свojим анализама студиja Балкана (Balkan Studies). Поменуте смернице упућују на досадашња истраживања балканске историје и културе, али и „дијагностификују“ промене настале у садејству са редефинисањем хуманистичких дисциплина током последњих деценија двадесетог столећа. Учесницима су тако упућена питања за даља промишљања у вези са профилом, конзервативизмом, дисциплинарним границама и могућим будућим усмерењима у оквирима студија Балкана.

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Петар Стајић

Петар Стајић

Author(s): Nadežda Mosusova / Language(s): Serbian Issue: 9/2009

In memoriam Petar Stajić (1915–2008).

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The Transition of Greek Art Song from the National School to Modernism

The Transition of Greek Art Song from the National School to Modernism

Author(s): Sofia Kontossi / Language(s): English Issue: 8/2008

This study presents the different ways in which two Greek composers, Leonidas Zoras and Jani Christou, viewed modernism. The songs of Zoras are typical example of the gradual withdrawal from the aesthetic framework of the National School which dominated during the first decades of the twentieth century. In contrast, Jani Christou, who spent his childhood in Alexandria and received an exclusively Western-type education, remained untouched by Greek traditional music or the Greek National School. His work was moulded by the ancient Greek philosophical belief in the elation of the listener through the transcendental power of Art. By his Six T. S. Eliot Songs Christou offered some of the best examples of twentieth-century expressionistic vocal music.

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Dimitri Mitropoulos’ Lonesome Passage to Modern Music

Dimitri Mitropoulos’ Lonesome Passage to Modern Music

Author(s): Yannis Belonis / Language(s): English Issue: 8/2008

It is not widely known that Dimitri Mitropoulos’ first public appearances in Greece were as a composer. His early works (ca. 1912–1924), distinguished by the blend of elements of the late-romantic style with intensely impressionistic references, reflect the search for a personal, ‘advanced’ harmonic musical language. In his works written after 1924, Mitropoulos abandons tonality and adopts more modern idioms of composition (atonality and 12-tone method). He is the first Greek composer to folow the modern musical tendencies of Europe, when music by Manolis Kalomiris and the other composers of the Greek National School was dominant in Greece.

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Style and Ideology: The Cold War ‘Blend’ in Greece

Style and Ideology: The Cold War ‘Blend’ in Greece

Author(s): Katy Romanou / Language(s): English Issue: 8/2008

This paper describes cultural policy in Greece from the end of World War II up to the fall of the junta of colonels in 1974. The writer’s object is to show how the Cold War favoured defeated Western countries, which participated effectively in the globalisation of American culture, as in the Western world de-nazification was transformed into a purge of communism. Using the careers of three composers active in communist resistance organizations as examples (Iannis Xenakis, Mikis Theodorakis and Alecos Xenos), the writer describes the repercussions of this phenomenon in Greek musical life and creativity.

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Xenakis et le passage vers l’universel

Xenakis et le passage vers l’universel

Author(s): Kostas Paparrigopoulos / Language(s): French Issue: 8/2008

The search for cultural identity, especially in countries that are threatened or feel threatened by a dominant culture, can lead, many times, to nationalism and isolation. It can also, perhaps more rarely, lead to unexpected paths that open new horizons not only at the local level but also at the universal level. The case of Iannis Xenakis fits into the second category. From 1949 until Metastaseis (1953–54), his first 'official' work, Xenakis wrote plays in which he attempted to marry Greek folklore with the European avant-garde. In 1955, he wrote an article devoted to this ‘marriage’, the first and at the same time last text published on this subject. Already, his music is moving from the local framework and extending towards the universal, with the ambition to include all music of the world. In this communication, we will try to follow this passage and clarify certain aspects of this trajectory.

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The ‘Post-’ in the ‘Modern’. Greek Film Music and the Work of Nikos Mamangakisa

The ‘Post-’ in the ‘Modern’. Greek Film Music and the Work of Nikos Mamangakisa

Author(s): Nick Poulakis / Language(s): English Issue: 8/2008

This article is focused on Nikos Mamangakis, one of the most ambiguous art-popular composers in Greece. His compositions for cinema are also quite provocative. Mamangakis’ cooperation with Finos Film (the major Greek film production company in post-war era) and, on the contrary, his collaboration with Nikos Perakis (one of the most well-known contemporary film directors) vividly illustrate the transformation of film music from the socalled Old to the New Greek Cinema. Through an overall analysis of two of Mamangakis’ most important film scores, I hope to reveal the transition process from a realistic modernist perspective to a postmodern one. A second goal is to present critically the general ideological shift in Greek socio-cultural sphere following the seventies change of polity. This paper underlines the perception of Greek music culture as a special case of Western music, which however holds its very distinct stylistic idioms, cultural practices and ideological functions.

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