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Being a Modern Serbian Composer in the 1930's: The Creative Position of Ljubica Marie

Author(s): Melita Milin / Language(s): English Issue: 1/2001

Ljubica Marić belongs to (hose rare Serbian composers who were fully involved in the international developments of modern music during the thirties I ler output shows that she was able to take over some dominant ideas of the period and transform them in a personal way. In the article are investigated all four of her preserved works composed before the outbreak of Work! War 2. Among them are two compositions that were until recently' believed to be lost: Longing for the (Hr! for choir (1929) and Music for orchestra (1932).

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Modernity and the Avantgarde in Romanian Music, 1920-1940

Author(s): Clemansa Liliana Firca / Language(s): English Issue: 1/2001

Thanks to the works of George Enescu. Romanian music achieved its first breakthrough onto the European scene in the years preceding World War I. In the inter-war period the number of Romanian composers who joined modern trends, often without breaking their links with nationalism, significantly grew in number: Mihail Jora. Sabin Dragoi. Mihail Andricu. Marcel Mihalovici. among others. The music of Stravinski and Bartók produced the strongest impact on Romanian music of the 1920‘s and 1930’s.

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Diverging from an established Greek musical nationalism: Aspects of modernism in the works of Dimitri Mitropoulos, Nikos Skalkottas, Dimitrios Levidis and Harilaos Perpessas, during the 1920s and 30s

Author(s): Giorgos Sakallieros / Language(s): English Issue: 12/2012

The presence of many young talented composers outside Greece, studying in prominent European music centres during the 1920s and 30s, set them free from the ideological compulsions of Greek musical nationalism prevailing in Athenian musical life during the fi rst decades of the 20th century. The creative approach and adoption of aspects of musical modernism, having been established around the same period in western music, are subsequently commented upon in the works, style and ideology of four different Greek composers: the pioneer of atonality and twelve-note technique in Greece, Dimitri Mitropoulos (1896–1960); the innovator and descendant of the Second Viennese School, Nikos Skalkottas (1904–1949); the ardent supporter of timbral innovation into new instruments and ensembles, Dimitrios Levidis (1886–1951); and, fi nally, the ascetical and secluded Harilaos Perpessas (1907–1995), another pupil of Schoenberg in Berlin.

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The status of chanting codices in the Serbian chant tradition

Author(s): Vesna Sara Peno / Language(s): English Issue: 11/2011

The status of chanting codices, which is directly associated with the phenomenon of musical literacy, is examined in this paper by means of the examples of a few scarce neumed manuscripts that represent a primary source for the reconstruction of the Serbian music past. The following reasons have been stated in the Serbian musicological literature as an explanation for the lack of a larger number of preserved neumed books: 1) melodies were transmitted orally, 2) an intensive liturgical practice, in which chanting had a primary place and 3) historical circumstances due to which manuscripts were exposed to decay. For the sake of an objective evaluation of the probable level of chanting skill in the Middle ages in Serbia, the aforementioned reasons have been reconsidered and revised.

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Октоих – узор и инспирација за средњовековне српске химнографе

Author(s): Tatjana Subotin-Golubović / Language(s): Serbian Issue: 11/2011

Octoechos is not merely a musical manual in everyday use during the service in Orthodox Church, but also a comprehensive anthology of church poetry. It contains poetical works of great Byzantine poets, such as John of Damascus, Joseph the Hymnographer, Andrew of Crete. The use of Octoechos during the service is strictly regulated by Typicon. After accepting the Orthodox rite, the Slavs were acquainted with Octoechos which has undoubtedly made a great impression on the attentive audiences present at the service. Octoechos has also influenced the work of medieval Serbian hymnographers all of whom were, as it is well known, pious men. The influence of the poetics typical of hymns of the Octoechos has already been present in the Akoluthia to St. Simeon written by St. Sava. In the hymnographical work of Theodosius this influence is even more present, especially in his Canons on the eight modes (echoi) that follow the pattern of the supplicatory canons of the Octoechos. Ephraim, who was the Serbian patriarch in two turns (1375–1379, 1389–1392), wrote his church hymns and prayers following those of the Octoechos. Ephraim composed his stichera dedicated to Christ and Theotokos following the regular change of tones of the Octoechos. The spirit of Octoechos has also marked the work of the last Serbian anonymous hymnographers who wrote Akoluthia to the Translation of the holy relics of Saint Apostle Luke to Serbia and the Paraklisis to St. Luke (mid 15th century).

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Special melodic formulas in the Psalm cycles of the Vigil in Russian manuscripts of the 16th to 18th centuries

Author(s): Irina Starikova / Language(s): English Issue: 11/2011

This paper discusses the melodic formulas of psalmodic cycles of the Vigil in Russian manuscripts of the 16th to 18th centuries. It shows that some special formulas are used in the melos of the psalmody, along with the formulas of znamenny and putevoy chant. They are found in the eight-mode cycles, such as “Lord, I have cried” and “God is the Lord”, and in the cycles with one melodic model (according to the Jerusalem Typicon tradition; sometimes without indication of modes), such as the Polyeleos, the ainoi, or the first antiphon of the first kathisma and the seventeenth kathisma. Similarities between special formulas in various psalmodic cycles, including eight-mode and non-octomodal Psalms, suggest the presence of remnants of the archaic eight-mode psalmodic system in the cycles of the Vigil

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Romanian vs. Greek-Turkish-Persian-Arab: Imagining national traits for Romanian church chant

Author(s): Costin Moisil / Language(s): English Issue: 11/2011

Romanian cantors, clergymen and musicologists debated the problem of a national church chant from the late 19th century onwards. Amongst other things, they tried to define the specific traits of Romanian chant, to place these traits in opposition with Turkish and Oriental ones, and to show that traits of Romanian chant bore witness to a European and not an Oriental identity. This paper discusses various views on the traits of Romanian chant and the composing techniques of the “Romanianization” of Greek pieces, and points to the connections between these traits and national myths and symbols shared by Romanians.

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Experiences in adapting post-byzantine chant into foreign languages: Research and praxis

Author(s): Jaakko Olkinuora / Language(s): English Issue: 11/2011

This article presents the current state of the research and practical methodology of the adaptation of Byzantine melodies written in the “New Method” into foreign languages, with Romanian, English and Finnish serving as examples. The adaptation of independent, “fixed” melodies as well as metrical liturgical texts (prosomoia and canons) are examined. The challenges emerging in adapting Byzantine chant into Finnish are also discussed. The author also suggests some future subjects for research, which include the synthesis of examining arrangements in both “Old” and “New Method”.

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The ideology of Yugoslav nationalism and primordial modernism in interwar music

Author(s): Srđan Atanasovski / Language(s): English Issue: 11/2011

In this paper I strive to illuminate the connections between the ideology of Yugoslav nationalism and the discourse on music and music production in the interwar Kingdom of Yugoslavia. In order to comprehend the traits that are germane to the aforementioned practices, I propose the notion of primordial modernism. Primordialism was a crucial standpoint for vindicating the existence of a united Yugoslav nation, which was to enclose the „tribes‟ of different histories, religions and even languages. A concern to be modern was also pertinent, as a part of the endeavour to produce a semblance of Yugoslavia as a modern, progressive European state. The paradigm of primordial modernism compromises these distinct tendencies, presupposing that a musical work should be ostensibly modern, but, at the same time, that it should use folk material in a manner that reveals the existence of its deeper, psychological, primitive, prehistoric layers.

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′Czech-Slovene′ musicians?: On the question of national identity in Slovene music at the turn of the 19th to the 20th century

Author(s): Jernej Weiss / Language(s): English Issue: 7/2007

In this article, the author observes and discusses the questions of national identity in the context of Czech and Slovenian music at the turn of the 19th to the 20th century. The Italian and German influences dominating Slovenian music in the past began from the mid 19th century onward to be replaced by predominantly Czech elements as the consequence of the numerous Czech musical immigration in Slovenia. Many of Czech musicians were naturalized in Slovenia and can therefore be included among Slovenian musicians. Although they actively supported the building of a Slovenian national style, they did not feel the need for the repeated аesthetic evaluation of traditional frames.

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Europa im wandel. Musikalische angleichungsprozesse im spannungsverhältnis Ost-West

Author(s): Helmut Loos / Language(s): German Issue: 5/2005

Not only culture, but even more so the methods of historiography in the cultural field are shaped by the period of the 19th century in which these disciplines emerged. In contrast, research approaches have been developed in recent decades that are oriented towards structural history and seek to relate the history of composition, institutions and ideas to one another. Social-historical approaches play a special role, for example in the sense of a comparativist social history. Regional aspects are thus becoming more of a general interest. Nevertheless, a dominance of national categories can still often be observed, which neither corresponds to a historical awareness of the period of the 18th century and earlier nor is likely to be appropriate in today's time of unifying Europe.

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Eastern naturalness versus western artificiality: Rimsky Korsakov's influence on Manoles Kalomoires' early operas

Author(s): Aikaterini Romanou / Language(s): English Issue: 5/2005

In this article the writer investigates the relations between perceptions of the East and the West in nineteenth century Greece, their connection to national identity, to the language question and to political tendencies. The composer Manoles Kalomoires was influenced by a group of progressive intellectuals striving to liberate Greek literature and language from its dependence on Ancient Greek legacy, a dependence motivated by Western idealists (who saw in the Greek Revolution of 1821 a renaissance of Ancient Greece). Most were educated in the West, but promoted an oriental image of Greeks. Kalomoires’ musical expression of this image was inspired by Rimsky-Korsakov’s Sheherazade and the Golden Cockerel. In 1909–910 he wrote an unfinished opera, Mavrianos and the King, on the model of the Golden Cockerel. He later used this music in his best known opera, The Mother’s Ring (1917). In the present article the similarities in the three works are for the first time shown. An essential influence from RimskyKorsakov’s work is the contrast between the world of freedom, nature and fantasy and that of oppression.

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Исток-Запад у полемичком контексту српске музике између два светска pata

Author(s): Katarina Tomašević / Language(s): Serbian Issue: 5/2005

This article represents a fragment of the author's doctoral dissertation Serbian Music at the Crossroads of the East and the West? On the Dialogue between the Traditional and the Modern in Serbian Music between the Two World Wars (the review of the thesis see on www.newsound.org.yu, issue No 24). The thesis (mentor: prof. Dr Mirjana Veselinović-Hofman) was defended at the Faculty of Music, Belgrade, on January 2004. A revised text of the dissertation is forthcoming, in an edition of the Institute of Musicology of the Serbian Academy of Sciences and Arts. The article describes the creative orientation of composers Miloje Milojević, Petar Konjović and Josip Slavenski as the key figures of the epoch, indicates their choices of an Eastern or Western orientation, and explains the antagonism between the poetics of the "Europeans" and the representatives of avant-garde trends. The topicality of the East-West dichotomy in the critical consciousness of the protagonist of this period is marked as one of the main and the most important dilemma of the polemical context of the Serbian art after the World War I. Conducted from standpoints "Pro et Contra Europe", East-West discussion was also the part of the debate of Serbian national art's development strategy in the new, modern epoch of its history.

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Mărturii documentare despre muzica naţională în cultura europeană. Periplu istoriografic (secolele XVI—XVII)

Author(s): Victor Ghilaş / Language(s): Romanian Issue: 2/2021

The study brings to the forefront some reference information on the connections of national oral music with the European space. The sources of documentation, to which we turn, allow a first finding, according to which our music enters the attention of the West in the XVI century. Firstly, we refer to the first records of folklore, which appeared in publications in Poland, Germany and France, and which are found in tabulations, anthologies and (or) collections of music. Once they have come out of print and have been put into circulation, they reach the creative laboratory of European artistic personalities, who have gone on to capitalize on our ethnic music in various forms and genres. We catalog some creations through concrete examples, having as a source of suggestion the local melody. Along the way, the actual musical documents from the period under investigation are supplemented with data and information from adjacent fields. The paper takes into account the contribution of foreign authors in a limited period of time (XVI–XVII centuries), who through their contribution have facilitated the promotion of the originality of our musical culture, increasing its visibility and value on the European continent.

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Documentary sources and methodological landmarks in the research of the creation of the singer Veronica Mihai in the „Folclor” Orchestra

Author(s): Vasile CHISELIŢĂ / Language(s): English Issue: 2/2021

The study aims to identify the main theoretical and methodological criteria, important in shaping the scientific vision applied to the approach of the subject. The author delimits two distinct periods in the evolution of the singer’s repertoire: the late Soviet period (1968–1991) and the post-Soviet period (1991–1999). The main focus is on the Soviet epoch. Among the documentary sources are the materials stored in the IPNA archive – “Teleradio-Moldova” Company, the personal files of the artists, the minutes of the Artistic Council, the musical scores, the library of the editorial offices within the institution. To substantiate the theoretical framework of the study, the author argues the need to instrumentalize the concepts of „Soviet folk song”, „mass song”, „creator&producer networks”, „modernization”, „revitalization”, „invented traditions”, „folklorization”, „new folk songs”, „neo-traditional music”.

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Constituirea artei academice acordeonistice din RSS Moldovenească în perioada anilor 1940–1960

Author(s): Dumitru Calmîş / Language(s): Romanian Issue: 2/2021

With the annexation of Bessarabia to the USSR, the process of professionalization of accordionists, convering all levels of artistic education in the country, is influenced by the evolution of performing arts in Eastern Europe (especially Russia, Belarus, Ukraine). The academic bases are consolidated by illustrious pedagogues, such as Iziaslav Birbraier, Valentin Zagumionov (I. Birbraier’s student), Ivan Folomkin (one of the first graduates of the Gnesin State Musical-Pedagogical Institute in Moskow) and others. Durind the years 1940–1960, the establishment of the accordion interpretive art in the Moldavian SSR was directly conditioned by the massive ideologization of the ex-Soviet cultural space, which largely blurred the national identity aspect in the accordion academization process. Based on the classical-romantic aesthetics „adjusted” by the doctrine of socialist realism, the professionalization of Bessarabian instrumentalists is distinguished by a prominent conservatism compared to other accordion schools of that period, such as German, Danish, Czech etc. (we refer primarily to the compositional domain). Even if in this time segment the accordion failed to fully integrate into the „family” of European academic instruments, taking into account some areas (organological, compositional, pedagogical, interpretive) that needed to be intensely perfected, the first postwar decades can still be considered the reference point for establishing the academic status of chromatic harmonics in the Moldavian SSR.

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Разговор с прошлым в современной хореографии

Author(s): Anna Królica / Language(s): Russian Issue: 2/2021

The present paper starts from the idea of “archival return” in scientific discourse and its possible uses in choreographic practice. In Poland, many choreographers have tried to reconstruct the works of famous artists from the 20s and 30s of the XX century. The works of Pola Nireńska, Yanka Rudzka and Marie Rambert are brought to the stage from today’s perspective. This phenomenon would contribute to the completion of a history with new valences. In the context of reconstructing the choreography of the past, we will refer to the memory of the body and “the body as an archive”. We will analyze how contemporary choreographers work with memory and bodily memories, trying to find traces to get in touch with historical stagings. The research is based on the concept of the body as an archive and the experience of previous generations in choreographic practice. At the same time, we will try to find the answer to the question: how is the process of including choreography in the archival context treated and how does it manifest itself as such today. We will highlight the connection with the past, but also the contribution to knowing and promoting choreographic values.

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Film, muzică și noile medii – noile provocări în industria festivalieră în era digitală (post) pandemică

Author(s): Valeria Barbas / Language(s): Romanian Issue: 2/2020

Tranziția la era digitală în secolul XXI este un fapt inevitabil și ireversibil, iar ceea ce privește transferul în zona virtuală aceasta nu mai este o noutate. Cu toate acestea, odată cu situația pandemică provocată de noul Corona virus COVID 19 în rețeaua artistică festivalieră în sfera artelor vizuale, film și muzică s-a accelerat sau chiar a forțat schimbarea formatului de produs cultural, la nivel de prezentare și experiență.

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Discursurile muzicale cultural distincte în noile școli componistice de la sfârșitul sec. al XIX-lea — începutul sec. XX

Author(s): Valeria Barbas / Language(s): Romanian Issue: 2/2022

In this article is analyzed the correlation of the concepts of music and identity is analyzed, in which music lends itself as one of the key elements of identity, because it off ers a perception of the self, but also of the collective. Th e concept of musical identity was the main focus in the creation of new national musical schools (Eastern Europe). Musical compositional creation that tended to embody tradition has served as a powerful cultural resource for nationalism since the 19th century. Th e compositional vector was directed, on the one hand, to get out of the crisis of the romantic music trend, and on the other hand, to strengthen the new national schools in the states of Eastern Europe, where the academic musical culture was at a relatively young stage. In the post-romantic crisis, the appeal to formulas of folklore origin brought a new breath, diversifying the musical language and the means of expression, in order to affi rm musical cultures (Poland, Hungary, Czech Republic, Bulgaria, Romania), etc. Th e new states, previously under the infl uence of the great empires, distanced themselves somewhat from Western musical culture, a fact that allowed, on the one hand, the creation of national schools and the preservation of traditions in the conditions of essential changes in European, pan-European and world composition.

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Identitatea spectacolelor teatrului moldovenesc academic muzical dramatic de stat „A.S. Puşkin” în anii ’70 ai secolului trecut

Author(s): Elfrida Coroliova / Language(s): Romanian Issue: 2/2022

The present article analyses the performances of the Moldovan Academic Musical Dramatic State Th eater „A.S. Pushkin” staged in the 1970s, in which cultural and civic identities were manifested, and namely: Egor Bulâciov and others by M. Gorki, Th e tiger and the hyena by S. Petőfi , Th e armored train 14-69 by Vs. Ivanov, Romeo and Juliet by W. Shakespeare, On the Night of a Moon Eclipse by M. Karim, Th e Inspector General by N. Gogol, Beyond the Green Door by R. Ibraghimbekov, Th e Blue Deer by A Kolomieț, An interview in Buenos Aires by H. Borovik, Servant to two masters by C. Goldoni, As long as we are going live by O. Iosseliani, Th e Prize by A. Ghelman, Night Asylum by M. Gorki, Solo for the clock by O. Zagradnic, the trilogy Th e Paths, A boat in the forest and Th e Dogs by N. Haitov, Th e Lark by J. Anouilh. Th e article also examines the shows marked by cultural, national and civic identities, among them: Love is not a bad counsel by A. Marinat, Th e Birds of our youth by I. Druță, Two girls and a nanny by V. Alecsandri, Th e Leader by D. Matcovschi, Childhood Memories and Harap Alb (Once upon a time…) by I. Creangă, Father by D. Matcovschi.

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