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Review of: Tina K. Ramnarine, Ilmatar’s Inspirations. Nationalism, Globalization, and the Changing Soundscapes of Finnish Folk Music. Chicago Studies in Ethnomusicology, The University of Chicago Press, Chicago and London 2003.
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The works of professor Stanko Mandic featured both Yugoslav and Serbian architecture of the period from 1950-1983. In order that his creative work be perceived as a whole, it is necessary to examine both theoretical and aesthetic pulses that featured and formed such a creative work. Unlike most of his colleagues, Mandic had the ability to express his theoretical and artistic attitudes. Fortunately, he was prone to express himself in writing. He nourished poetic syntax. His works help us understand the procedures he applied in his designing practice. Stanko Mandic chose the composition of spatial architecture for the subject of his methodology. He respected the importance of metaphysics, logic and abstract language of art, but he was intuitively prone to the phenomenology which explains his works. For him, architecture is art expressed through form, in spite of all of its particularities. Although the most important source, the architect’s works are not a sufficiently strong argument to make any assumptions as far as aesthetic discourses of professor Mandic are concerned. Theoretical frame of the study is widened to involve philosophical, aesthetic and artistic discourses of the first half of and mid XX century in Europe. In this regard, the features of the Yugoslav philosophy of the 60s (praxis) are referred to, as well as the discourse exchange between Benedetto Croce and Mandic. Croce’s influence was immediate; it was the base for Mandic’s aesthetic choice. The philosophy of Martin Heidegger had an intermediate influence on him, whose works and lectures had a vast influence on development of a new science – the theory of post-Art Nouveau architecture. This paper deals with some installations of Edmund Husserl, Heidgger, Nicolai Hartmann and of the critic and art historian Marangoni Matteo. Other sources used to understand the period observed are theoretical and research works of both foreign and domestic architects. The theoretical frame proposed clarifies the dichotomy of Mandic’s aesthetic ideals reflected in dialectic pairs such as: progressive/historical; classical/abstract; intuitive/logic; academic/memorial etc.
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Review of: Радмила Петровић, Јелена Јовановић: „Еј, Рудниче, ти планино стара“ - традиционално певање и свирање групе „Црнућанка“, Београд, 2003.
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Review of: Vesna (Sara) Peno, “iz Hilandarske pojačke riznice - Vikentije Hilandarac” [From the Hilandar’s Chanters’ Treasury - Vikentije Monk from Hilandar Monastery], (Novi Sad, Art print, 2003), 236 pp. musical examples.
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The article offers observations about some aspects of the current relationship between psychological aesthetics and neuroaesthetics. In addition to criticism of the occasionally less than rigorous process of inference in neuroaesthetics, reservations are expressed about the ability of neuroaesthetics to address successfully, at least in the next few decades, some seemingly key questions. Among them are those about the vertical theoretical integration of data from different art modalities, as well as about the relationship of various neural correlates, on one hand, and the differential quality of aesthetic episodes, on the other – especially episodes involving peak aesthetic experiences (such as aesthetic awe and being-moved). The article concludes with several concrete suggestions for a potentially interesting and fruitful collaboration of psychological aesthetics and neuroaesthetics.
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During the 19th century most of the Ionian islands played a leading role in the Greek musical life. The vicinity of the islands with Italy combined with the Venetian domination were two facts that helped the creation of strong links between the Ionian islands’ and the Italian cultures. The phenomenon of the visits of Greek composers to Italy during the 19th century in order to study at the principal conservatories of the country is one of the most interesting aspects of the history of Ionian music. The relations of individual composers with Italian composers, professors and music institutions are considered together with relevant aspects of Greek and Italian musical ties. The travelling of Greek composers to Italy for educative purposes is regarded not only as a historic phenomenon but also as a major step in their career. References are made regarding their contacts with distinguished Italian composers and intellectuals. Furthermore, the success of Greek composers in Italy is an undoubtful fact. A considerable part of Greek composers’ musical works was performed and published in Italy. Facts indicating the success and the effect of Greek composers’ work on the Italian musical life are given with references to primary music and literary sources.
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Around forty thousand Russian emigrants settled in Yugoslavia running away from the terror of the 1917 Revolution. A high percentage of them were writers, artists, musicians and ballet dancers. Their greatest contribution to Yugoslav musical culture consists in the important acceleration they brought to the development of the domestic scene. Especially valuable were the activities of opera singers and directors, ballet dancers and choreographers, scenery designers, conductors of church choirs and music pedagogues.
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Many unresolved questions related to post-Byzantine church chanting present obstacles to understanding some aspects of church music since the 19th century. One of those problems concerns the need for strict definitions of criteria according to which a church melody is classified as "melos" (Serb., napev). In this article the actual classifications of new Greek and Serbian chants are given. The most important Greek theoretical sources (theoretikon) are taken into consideration, as well as writings in which Serbian theoreticians and chanters explain the classification of hymns in Serbian church singing. The terminology related to "melos" in Greek and Serbian church chanting practice is critically examined. Attention is also drawn to elements common to new Greek (neumatic) and Serbian (staff notation) "melos". This article is an introduction to more detailed research whose aim will be to establish similarities and distinctions between the two church singing traditions that have the same origins in Byzantine church music.
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The contribution aims to illustrate two Roman art magazines of the late 18th century (part of my PhD thesis): «Memorie per le belle arti» and «Giornale delle belle arti e della antiquaria, musica, e poesia». They are considered as a direct filiation of the scholarly journals of the 18th century, or, better to say, experimental rib of the contemporary literary sheets, but with the substantial difference that while the latters ranged in all fields of human knowledge, these two art magazines restricted their interests to the artistic field, especially the Roman one. Starting from the historical-cultural milieu oflate 18th-century in Rome, this contribution intends to illustrate the common elements and the diversity of these two art newspapers, which are considered among the first Italian art magazines. Finally, the analysis intends to take into consideration the editorial line of the two journals, their page layout, their editorial teams and theirreaders.
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The article presents musicological and existentialist philosophical discourses on renaissance and baroque structures in the works of two contemporary classical composers. The existentialist point of view is imposed due to the examination of contemporary music works in which historically conditioned practices are also found. Being and Time and Introduction to Metaphysics by Martin Heidegger serve as a starting point for the reflections. The two works D’Om Le Vrai Sens by Kaija Saariaho and Concerto Grosso "Sun Reflections" by Yordan Goshev are stylistically very different but the first bears renaissance and the second – baroque features respectively. In consequence, Der Man or Das Man is defined by the opposition between renaissance humanism and the metaphysics of Being.
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This paper deals with the establishing of the organizing models, on one side, and with folk music and its aesthetic characteristics in the interwar period, on the other. This problem signifi cantly contributed to the present meaning of the term “folk music” (“narodna muzika”). The program of Radio Belgrade (founded in 1929) contained a number of folk music shows, often with live music. In order to develop folk music program, numerous vocal and instrumental soloists were hired, and different bands accompanied them. During that time, two offi cial radio ensembles emerged – the Folk Radio Orchestra and the Tambura Radio Orchestra – displacing from the program the ensembles that were not concurrent to their technical and repertoire level. The decisive power in designing the program concept and content, but also in setting standards for the aesthetic values, was at the hands of music editorship of Radio Belgrade. The radio category of folk music was especially infl uenced by Petar Krstić (folk music editor in the period from 1930 to 1936) and his successor Mihajlo Vukdragović (1937–1940), who formally defi ned all of the aforementioned characteristics, but in rather different ways. A general ambivalence in the treatment of the ensembles that performed at the radio refl ects the implementation of their policies. In comparison to the offi cial orchestras, the tavern singers and players received poor reviews in the editors’ reports, despite their strong presence on the program. On the other side, the offi cial orchestras were divided according to the regional folklore instrumentarium, but also according to the quality of playing. The Folk Radio Orchestra probably had double leadership, so it was possible to observe different approaches to the music folklore, which eventually resulted in a unique tendency towards cherishing folk music. This paper represents an attempt to show how the media term “folk music” was constructed and where it currently stands in comparison to the usual study objects of ethnomusicology and popular music studies. My argument is that the discourse of authenticity was fundamental for the creation of offi cial folk music.
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This article deals with the process of creation of symbolic boundaries in the context of designing the folk music programs at Radio Belgrade since its foundation until the beginning of World War Two. A detailed insight into the musical contents aired on Radio Belgrade, the texts on folk music published in the radio weekly magazine (Radio Belgrade), and the preserved memoirs, with an emphasis on their broader socio-cultural and socio-political signifi cance, has enabled me to single out the factors and mechanisms that played a key role in defi ning the boundaries of folk music. I will analyse the work of different editorial teams before World War Two; at the same time, I will consider the tastes and cultural preferences of the subscribers and listeners of the Radio Belgrade programs. By means of crossing out specifi c aesthetic, political and economical positions of radio editors and experts who designed the folk music program with the expectations of listeners and, to an extent, performers of folk music, I will attempt to explain how the process of symbolical demarcation of folk music as a separate entity, different from art and popular music, took place; but also, how the folk music broadcast on the radio related to the Serbian folk musical practices.
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By focusing on the role of music within a certain political event – in this case, the students’ protests in Yugoslavia in June 1968 – I connect the sociology of music with the sociology of social movements as defi ned by American writers Ron Eyerman and Andrew Jamison. Moreover, I suggest further research based on the sociology of generations. I insist on the cultural basis of social movements, as argued by these Yale-educated sociologists. Contrary to the typically onesided or negative evaluation on the consequences of the 1968 protests on the further development of Yugoslav society, I discuss the importance of this crucial year on the history of Yugoslav rock music and the students’ lifestyle. I argue that the entertainment institutions in Yugoslavia, including rock’n’roll, pop and jazz music, as well as the amateur folklore societies, were crucial for the selfidentifi cation of the protagonists of the 1960s student protests, and not only the students’ political choices. Music anticipated and accompanied the 1968 protests, and later helped in constructing the memories on these protests. Music is singled out as the object of study based on the analysis of a vast body of archival material and the participants’ testimonies, in which the music could be observed as the only constant parameter in the process of constructing collective memory to the 1960s in Yugoslavia and the 1968 events. I discuss music in the context of social movements for the sake of analyzing the multiplicity of music’s meanings for various social groups. Music is seen outside of institutional frameworks. Bearing in mind the lack of literature that deals comprehensively with the lifestyle of the youth at that time, including their musical preferences, I used various secondary sources.
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Offi cially, the Serbian Orthodox Church enjoyed a legally guaranteed status throughout the 19th century and Orthodox faith was considered to be prevalent both in the Principality of Serbia and in the Kingdom of Serbia. Nevertheless, after gaining its autonomy within the Constantinople Patriarchate in 1831 (under whose forced jurisdiction it had been since 1766), Knez Miloš’s attitude and a number of state provisions led to the unsparing diminishing of the Church authority together with frequent subversions of the Church Canon law. Introduction of the constitutional and legislative framework for the activities of the Serbian church, the enforcement of institutionalized mechanisms of control, and above all, direct interference of the State authorities in the elections of Church hierarchs and their activities, marked relations of the Church and the State in the 19th century. “Might makes right” rule was always on the State side. Investigations so far have least examined those provisions of the Government concerning general and theological education, in which church music also found its place. Presentation and analysis of the facts about the beginnings of organised music education go in favour of the existing fi ndings on concurrencies and discrepancies in two cultural policies – that of the State and the one of the Church. Attitudes of the Sovereign and the Government towards the educational process, so vital during the decades of the State formation, are also indicative for affi rmation of chanting practice and music art in general, as are (non-) confl icting interests between the prelates and distinguished public fi gures on one, and those in charge at the ministries on the other side. This paper presents all relevant government legislations regulating religious and music education at regular and theological schools. Attempts of the Church dignitaries and learned Serbian musicians to raise the level of music culture with the help of the State authorities are particularly emphasised. The emphasis was especially on the promotion of polyphonic church music and endeavours to print notated church chanting books. All relevant direct and indirect contributors to the expansion of church music are mentioned, among them especially music teachers at the Theological high school in Belgrade. Eventually, the paper points to those legal regulations which imposed on teachers certain duties related to everyday church services and reactions of the teachers to those regulations.
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As offi cial policies in the post-war Yugoslavia were oriented towards economy, mainly tied to towns, rural areas were focused on agriculture to a large extent, as it had been before. However, the Party was determined to revive villages, being of the opinion that life in those areas should be purifi ed from “primitivism” so that it could be set to a higher level concerning issues of education, political structure, local organisation and cultural life. Since people in villages felt determined to maintain their local culture, customs and music, the State offi cials had to fi nd ways to articulate uncanny social behaviours. At the time, folklore and vernacular creative impulse in Serbia was sustained as a “hard cultural form” that by accident or on purpose converted into “soft cultural form” through a wide range of festival activities in Yugoslavia. This signifi cant turn permitted “relatively easy separation of embodied performance from meaning and value, and relatively successful transformation at each level” (Appadurai 1996: 90). The discussion of this paper intends to form a dialogue on the transformation of social structure and politics, which gradually led to severe changes in the areas of traditional musical practice.
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The transition of the 19th into the 20th century in Serbian music history was a period of music criticism, journalism and essay writing. At that time, Serbian musicology had not yet been developed as an academic discipline. After WWI there were many more academic writings on this subject; therefore, the interwar period represents the beginning of Serbian music historiography. This paper analyses Serbian interwar music magazines as source material for the history of Serbian musicology. The following music magazines were published in Belgrade at the time: Muzički glasnik (Music Herald, 1922), Muzika (Music, 1928–1929), Glasnik Muzičkog društva “Stanković“ (Stanković Music Society Herald, 1928–1934, 1938–1941; from January 1931. known as Muzički glasnik /Music Herald/), Zvuk (Sound, 1932–1936), Vesnik Južnoslovesnkog pevačkog saveza (The South Slav Singing Union Courier, 1935–1936, 1938), Slavenska muzika (Slavonic Music, 1939–1941), and Revija muzike (The Music Review, 1940). A great number of historical studies and writings on Serbian music were published in the interwar periodicals. A signifi cant contribution was made above all to the study of Serbian musicians’ biographies and bibliographies of the 19th century. Vladimir R. Đorđević published several short biographies in Muzički glasnik (1922) in an article called Ogled biografskog rečnika srpskih muzičara (An Introduction to Serbian Musicians’ Biographies). Writers on music obviously understood that the starting point in the study of Serbian music history had to be the composers’ biographical data. Other magazines (such as Muzički glasnik in 1928 and 1931, Zvuk, Vesnik Južnoslovenskog pevačkog saveza, and Slavenska muzika) published a number of essays on distinguished Serbian and Yugoslav musicians of the 19th and 20th centuries, most of which deal with both composers’ biographical data and analysis of their compositions. Their narrative style refl ects the habits of 19th-century romanticism and positivism: in some of these writings the language also has an aesthetic function. Serbian interwar music magazines also published some archival documents contributing to the future research of Serbian music history. Interwar period in the then Yugoslavia was a time of rapid development and modernization in various fi elds of culture. There was a great demand for music writings of general interest. Therefore, Revija muzike (January – June 1940) was totally oriented towards the popularization of music and the arts (such as drama and fi lm). This magazine also published some popular articles on music history. Serbian interwar music periodicals were least active in the fi eld of musicological analysis. However, in 1934, Branko M. Dragutinović published a detailed analytic study of Josip Slavenski’s composition Religiofonija (Religiophonics) in Zvuk. There were also some interdisciplinary history articles in Serbian interwar music magazines. Being well aware of the fact that music history comprises not only music itself, but also music writing, schools, institutions and music life, our music writers used “indirect“ sources, such as literature and art, as well as music. Serbian interwar music periodicals opened many fi elds of research, thus blazing a trail in postwar Serbian musicology.
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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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Arthur Lourié’s conception of revolution (political as well as cultural) is explored through his writings, with particular emphasis on its evolution from his Russian period to his Parisian and American exiles. Analysing Lourié’s Eurasianist views specifi cally I argue that through his association with Eurasianism and his engagement with Neoclassicism Lourié did not abandon his revolutionary disposition; the means through which his revolutionism was pursued as well as the ideals that shaped it were merely redefi ned, while remaining fi rmly grounded in the Silver Age.
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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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