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Николай Райнов – Рабиндранат Тагор: диалози

Author(s): Svetlana Stoicheva / Language(s): Bulgarian Issue: 3/2020

The subject of this article is the connection between Nikolai Raynov and Rabindranath Tagore, which so far has not been a particular object of literary study. It is based on the fact that Raynov was one of the first translators and interpreters of Tagore in Bulgarian. The attempt to outline possible „silent dialogues“ between the two related artists is part of the great East-West dialogue in the first half of the twentieth century and the perception of Eastern philosophy as a corrective to that of the West after World War One (WWI). There is also a thesis about Tagore's possible influence on Raynov's style after the First World War.

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The Scene ‘Christ Expels Seven Demons from Mary Magdalene’ in the Post-Byzantine Art

Author(s): Ralitsa Rousseva / Language(s): English Issue: 22/2022

The paper deals with several sixteenth- and seventeenth-century mural representations from different Balkan regions, illustrating Christ Expels Seven Demons from Mary Magdalene as an individual scene. The representations can be grouped in two categories based on the iconographic interpretation of the subject. The first one includes those in the Church of Prophet Elijah (1550) in Sofia and churches associated with the work of St Pimen of Zographou: the Church of the Dormition of the Theotokos in Zervat (1603, Albania), the Church of St Theodore Tyron and St Theodore Stratelates in Dobarsko (1614), the Monastery of St Nicholas in Seslavtsi (1616). The iconography of these four monuments is as a whole very reminiscent of other scenes of healings by Christ. The scene is placed in the context of the Pentecostarion cycle. The second group includes monuments painted by the artists from Linotopi, especially by Nicholas: the Monastery of the Dormition in Spilaio near Grevena (1649); the Monastery of the Transfiguration in Dryovouno (1652) and the Church of St Demetrius in Palatitsion (1570; 17th century). The general iconography here reminds of the healings of demon-possessed, while the iconographic characteristics of Mary Magdalene are akin to those of St Mary of Egypt. The scene is placed among those illustrating the Miracles and Parables. In the Hermeneias of Dionysios there is no description of the scene, although it is included as a title in Πήγαι in the Divine Works and Miracles of Christ. Probably Dionysios of Fourna was familiar with representations on the subject. For the time being we can only assume that a representation of this scene has existed before 1550, i.e. before it was painted at the Monastery of Iliyantsi.

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Дистекстът Кирил Кръстев и световната литература

Author(s): Vassil Vidinsky,Kamelia Spassova,Maria Kalinova / Language(s): Bulgarian Issue: 1/2023

In 1926, Italian Futurist Tommaso Marinetti received the radical Manifesto of the Fellowship Fighting against Poets. It was sent by Bulgarian avant-gardist Kiril Krastev, whose literary circle, Crescendo, was putting into question the normative dichotomy between Young and Old, modernists and traditionalists, constitutive of Bulgarian literature. In every national literature or Weltliteratur, there are anomalies, malfunctions, and exclusions. This essay analyses a particular anomaly – the Crescendo literary circle and its (im)possible existence. We define distext as something that does not belong to a particular context or that breaks with(in) the cultural conditions of possible or actual emergence. Our analysis raises several theoretical and historical questions: how radical is the manifesto in relation to the Western European avant-garde; does it have any influence outside its local distextual context; what is its connection to Dada movement; and most importantly, what does this anomaly say about the history of Bulgarian literature and its peripheries?

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Два лица мистификације: представљање Холокауста у делима A Survivor from Warsaw Арнолда Шенберга и Different Trains Стива Рајша

Author(s): Vera Mevorah / Language(s): Serbian Issue: 32/2022

The paper discusses the approaches of different media to Holocaust (re)presentation, with special reference to art music in the 20th century. Following the classification proposed by Michael Rothberg on two possible perspectives for representing the Holocaust: realistic and anti-realist (2000), we analyse two compositions: Arnold Schoenberg’s A Survivor From Warsaw (1947) and Steve Reich’s Different Trains (1988). The aim of the paper is to point out how artistic music reflects and participates in the dominant historical and contemporary discourses of Holocaust representation, especially the discourses of “heroism” and “non-representability”.

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Владимир Јовановић,100 година Опере Народног позоришта у Београду

Author(s): Vanja Spasić / Language(s): Serbian Issue: 31/2021

Review of: Владимир Јовановић 100 година Опере Народног позоришта у Београду. Београд: Чигоја штампа, 2020. ISBN 978-86-531-0625-6 (ЧШ).

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Ivana Medić - Teorija i praksa Gesamtkunstwerka u XX i XXI veku: Operski ciklus SVETLOST / LICHT Karlhajnca Štokhauzena

Author(s): Melita Milin / Language(s): Serbian Issue: 29/2020

Review of: Ivana Medić Teorija i praksa Gesamtkunstwerka u XX i XXI veku: Operski ciklus SVETLOST / LICHT Karlhajnca Štokhauzena. Beograd: Muzikološki institut SANU, 2019. ISBN 978-86-80639-33-8.

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Vlach Vocal Traditional Music in the Region of Homolje from the Legacy of Olivera Mladenović

Author(s): Maja Radivojević / Language(s): English Issue: 28/2020

Olivera Mladenović researched Vlach culture in the 1980s. Recordings preserved in the archive of the Institute of Ethnography SASA also contain examples of vocal practice of the Vlachs from Homolje region (Northeast Serbia). The material was recorded on six audio cassettes, which were later digitized. As ethnomusicological studies of this area are very scarce, the recorded material certainly represents a valuable testimony to the musical culture of the Vlach ethnic community. The aim of this article is to determine the particularities of the recorded examples, based on ethnomusicological analysis and transcription, as well as to isolate the vocal genres found on these audio cassettes. Vocal examples from the recordings of Olivera Mladenović will be paired with existing examples from the literature, as well as examples of current practice recorded by the author of this article. In this way, at least a partial picture of the Vlachs’ musical life in Homolје from the 1980s to the present day will be established, and the comparison will allow us to observe continuity and change.

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Ивана Весић - Конструисање српске музичке традиције у периоду између два светска рата

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

Review of: Ивана Весић Конструисање српске музичке традиције у периоду између два светска рата. Београд: Музиколошки институт САНУ, 2018. ISBN 978-86-80639-36-9.

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Весна Карин - Плесна пракса Динараца у Војводини

Author(s): Svetlana Đačanin / Language(s): Serbian Issue: 27/2019

Review of: Весна Карин - Плесна пракса Динараца у Војводини. Нови Сад: Академија уметности, 2018. ISBN 978-86-88191-74-6.

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Маријана Кокановић Марковић - Друштвена улога салонске музике у животу и систему вредности српског грађанства у XIX веку

Author(s): Nataša Marjanović / Language(s): Serbian Issue: 26/2019

Review of: Маријана Кокановић Марковић - Друштвена улога салонске музике у животу и систему вредности српског грађанства у XIX веку. Београд, Музиколошки институт САНУ, 2014. ISBN 978-86-80639-20-8.

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Universal Organising Principles of Music and Fairy Tales

Author(s): Nada Ivanović O’Brien / Language(s): English Issue: 25/2018

This article’s focus is the universal organising principles underlying the energy transformation process in music and fairy tales. Taking into account relevant research in Jungian analytical psychology and music analysis, a comparative study of energy transformation processes in fairy tales and music is given. This yields an outline for a potential new meta-analysis of music introducing the symbolic and psychoid nature of music and its relevance for psychological development.

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Статус оперског уметника у Народном позоришту у Београду од 1970. до 1980. године

Author(s): Vanja Spasić / Language(s): Serbian Issue: 24/2018

This article deals with the status of the opera artist in the National Theatre in Belgrade in the 1970s. The status of an opera artist is analysed from two, relatively independent standpoints. Te frst level includes the artist’s position as an employed person in the institution, and the other - his social position at the fnal stage of the self-management socialism, which was the ideological and organisational framework of the Yugoslav cultural policy in the aforementioned period. Te main idea of this article is to utilize the approaches of various sciences - sociology of art, cultural policy, musicology - in order to investigate those aspects that determine the status of artists. Te initial research question was concerned with discovering how the status of opera artists in the Teatre was determined. The answer to this question required an insight into artistic work within the Teatre, which was reconstructed on the basis of the available archival material, as well as the artists’ positioning in society, which was achieved by looking at the discourses about an artist from the eighth decade of the 20th century. Te fundamental literature for this article was Te White Book (Bela knjiga), which was issued in 1970 according to the decision of the Art Council of the National Teatre (Opera and Ballet); its purpose was to defne the need for reform at the Opera and Ballet. Te goal of this article is to point to diferent interpretations of the status of the artist in the observed period of self-management in the feld of culture.

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Трагом записа Теофилакта Симокате

Author(s): Đorđe Đekić,Miloš Pavlović / Language(s): Serbian Issue: 24/2018

The earliest record that testifes to the South Slavic music is the one lef by the Byzantine chronicler Teophylact Simocata in his History. It is said that in 592, the emperor Maurice captured three Slavic men near Enaton, who did not have any weapons on them, but had only musical instruments, most probably lyres. Some written sources also mention the horns. Implementing the knowledge obtained through etymological analyses and the extant ethnological practice, as well as archaeological artefacts, it may be said that the Slavs of the said period used jingle bells, futes and bagpipes. Te music, both instrumental and vocal, was common to religious as well as entertainment purposes.

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Glazbene migracije u rano moderno doba: ljudi, tržišta, obrasciistilovi

Author(s): Marijana Kokanović Marković / Language(s): Serbian Issue: 24/2018

Review of: Vjera Katalinić (ed.) Music Migrationsin the Early Modern Age: People, Markets, Paterns and Styles / Glazbenemigracije u rano moderno doba: ljudi, tržišta, obrasciistilovi Muzikološki zbornici br. 18, Hrvatsko muzikološko društvo, Zagreb, 2016. ISBN 978-953-6090-55-6.

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After Zero Hour: States as “Custodians of Universal Human Culture,” or “Guardians of Advanced Art”

Author(s): Melita Milin / Language(s): English Issue: 23/2017

The emergence of radically new, avant-garde movements in German music and throughout Western Europe after WW2 has often been seen as expressing a strivings to create on a tabula rasa, in order to create distance from the horrors of the recent past. In the countries of the communist bloc, the imposed ideology of socialist realism also created a sharp break, similar to that in the West, except that Zero Hour was conceived in quite a diferent fashion, as a move in the opposite direction from Western modernism. Te case of post-war music in Yugoslavia is examined under the light of the fact that the country did not belong to either bloc.

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The Early Prague Spring: Analysing the Re-Establishment of Modernist Aspects According to the Example of Three Piano Concertos by the “Prague Group” of Composers

Author(s): Marija Golubović,Nikola Komatović / Language(s): English Issue: 23/2017

The interwar period brought about a number of modernist tendencies in the heterogeneous cultural context of the Kingdom of Yugoslavia, which is particularly salient in the works of the young composers belonging to the so-called “Prague group.” Having completed their studies, dozens of composers and conductors, including Ljubica Marić (1909–2003), Stanojlo Rajičić (1910–2000) and Milan Ristić (1908–1982) contributed to the establishment of the new movement in the conservative milieu of interwar Belgrade. Afer World War II, socialist realism became, in efect, the only approved style for the artists of the period. However, only a decade afer the Tito–Stalin split, modernist tendencies reappeared fullblown in the output of Yugoslav composers. It is therefore of the greatest interest to analyse and present the way in which modernist music managed to fnd its way back to Yugoslav composers, performers and audiences in such a short period of time (the 1950s). To do so, we have chosen three piano concertos, writen at the very beginning, in the middle, and at the very end of this period. Tis overview would not have been possible if we had analysed works belonging to other genres, as most had already been established in the pre-war period. However, it is also safe to conclude that the limitations on the Yugoslav scene were not imposed only by political authorities, but also by the conservative tastes of its audience and society, which were already in place before WWII.

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Reflections On a ‘Shop’ Melodic Model in Wedding and St George’s Day Songs from Eastern and Central Serbia

Author(s): Jelena Jovanović / Language(s): English Issue: 23/2017

This article examines a melodic model that characterizes Serbian ‘Shop’ musical idiom both in eastern and central Serbia, where it was disseminated through migrations from the ‘Shop’ cultural region to the west and northwest. In some of the ‘Shop’ areas and in neighbouring regions in East Serbia, as well as in more remote central Serbia, examples of this model are consistent in their main characteristics, while in more remote areas in central Serbia these characteristics appear in various forms of the model. Te goal of this paper is to contribute to knowledge of the distribution of elements of ‘Shop’ musical culture in eastern and central Serbian areas.

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From Pain to Pleasure: The Troping of Elegy in the Renaissance Italian Madrigal

Author(s): Milena Medić / Language(s): English Issue: 22/2017

In the Renaissance period, melancholia emerged as a dramatic cultural phenomenon among the intellectual and artistic elites, with a locus in elegy it gave form to the Renaissance poetics of loss, pain and shedding of tears, expressing essentially the fantasy about death as a prerequisite for revival. Te possibilities of confronting the threats of death were being found in its very nature whose inherent ambiguity was determined by the principles of Tanatos and Eros. Te creative act of the troping of elegy proved to be an efective literary and musical strategy for the transcendence of death including the procedures of homeopathization, pastoralization, heroization and erotization of elegy. Te elegiac tropic transcendence of death found its most complex expression in the madrigal which in turn added to its basic polyphonic procedure the opposing stylistic elements of the pastoral genres (canzonetas and villanellas) or heroic solo or choral recitations and it consequently acquired a hybrid form in the last decades of the 16th century, and thereby proved to be a cultural trope itself. Te aim of this article is to examine the musical implications of the tropic strategies of facing death within Francesco Petrarch’s, Torquato Tasso’s, and Batista Gurini’s poetic models of the art of loving death, using the remarkable examples of the Italian madrigal practice of the late Renaissance.

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ESTETSKI DOŽIVLJAJ POPULARNE MUZIKE I NJEGOVA ULOGA U ŠUSTERMANOVOJ ODBRANI POPULARNE UMETNOSTI

Author(s): Dušan Milenković / Language(s): Serbian Issue: 2/2019

In his book Pragmatist Aesthetics: Living Beauty, Rethinking Art, American aesthetician Richard Shusterman examines numerous objections to various forms of popular art. The paper deals with the extent to which Shusterman’s defense of popular art is concerned with whether the work of this kind can be experienced aesthetically. Since the aesthetic experience of popular art is not the main theoretical motive underlying the objections analyzed by Shusterman in this book, the paper presents the reasons why such an interpretation of his aesthetics of popular art would contribute to the understanding of his defense of this kind of art. After considering various objections to popular art, to which Shusterman responds by analyzing the production and reception of popular music, the paper concludes that most of Shusterman’s defense of popular art is directly or indirectly based on the view that popular music can be experienced aesthetically, since popular music compositions fulfill all the conditions required for the experience of this kind.

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UMETNOST U VREMENU (NEOLIBERALNOG) KAPITALIZMA: ADORNO VS. MIKELSEN

Author(s): Divna Vuksanović / Language(s): Serbian Issue: 2/2019

The article opens the question of the perception of the relationship between art and capitalism in the contemporary era. This complex problem is treated from two angles of observation, which seem to be in a contrasting relationship. The first interpretative emphasis is placed on Adorne’s aesthetic theory of the mediation of art and society, while the other is summed up in Mikelsen’s theory of the effects of non-philosophical contemporary art which, in fact, conquers the position of power in the context of neoliberal capitalism with its empiricism. The article examines both these approaches, given their basic intentions, ranges and possible outcomes.

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