О песми бројеници у Горњој Јасеници — типологија

Author(s): Jelena Jovanović / Language(s): Serbian Issue: 1/2001

In this article attention is drawn to folk songs known as brojenica sung in the region of Gornja Jasenica. These songs range from children’s countdowns vocalized dur¬ing games to brojenica sung by adults. From the melopoetical point of view they can differ. Children’s brojenica are either sung or recited, whereas adults’ bojcnica are always sung and often have humorous or emotional content. It has been established that in Gornja Jasenica in humorous brojenica sung by adults in short tune the older rural two-part style prevails. There are also several examples of songs in unison, while elements of more re¬cent, modern singing are quite rare. The brojenica with emotional context (love songs), sung in modern rural style, is characterized by a long, syllabic refrain after every melo- versc. A resemblance in melodic pattern between adults’ brojenica and tunes with an added refrain is also noticed, giving evidence to their common origin.

On Music And Art In The Journal Danica (1860–1872)

Author(s): Nataša Marjanović / Language(s): English Issue: 14/2013

This paper deals with features and articles on music and art published in the journal Danica, in the period 1860–1872. Selected articles contain signifi cant testimonies on the place of musical practice in the everyday life of Serbs and other Slavic people living in the AustrоHungarian Empire in the nineteenth century. The feature articles abound with details on the artistic activities of respected individuals and singing societies, popular cultural-artistic events (besedas, balls, dances), new publications on music and other news. Several articles were dedicated to aesthetic and philosophical views on art. In a separate section of this paper, I analyse the narrative style of these articles.

Примењена етномузикологија у Србији: политике деловањa Српског етномузиколошког друштва

Author(s): Marija Dumnić / Language(s): Serbian Issue: 12/2012

his paper deals with ethnomusicological research methodologies, the application of ethnomusicological knowledge outside academic institutions and ideologies which have contributed to ethnomusicological discourses in Serbia. Furthermore, state policy on ethnomusicology and folk music is analysed. The recent institutionalisation of applied ethnomusicology, i.e. direct ethnomusicological engagement in society, which represents a turning point in the development of ethnomusicology, is particularly emphasized. The difference between contemporary applied ethnomusicology and ethnomusicology is in direct engagement: goals are changed, new strategies of (fi eld-) work are introduced, folk music as a political tool is adopted, neutrality of research positions is destabilized, resulting in the emergence of the greatest problem of the discipline – ethics. Applied ethnomusicology in Serbia is especially interesting not only because of local cultural characteristics, but also because of the specifi c position of Serbian ethnomusicology in the scientifi c world map. The activities of the Serbian Ethnomusiclogical Society are analyzed as a representative example of successful public engagement. The projects of the Society are classifi ed according to the type of animation (cultural and scientifi c). The promotion of Serbian folk music, folk music of national minorities and bagpipe-playing revitalization fall into the fi rst category, whereas the second one comprises scientifi c round tables and the projects dealing with the preservation of Serbian folk music heritage.

Ancient Greek mythology mediated by Latin culture: On Vlastimir Trajković’s arion and Zephyrus returns

Author(s): Melita Milin / Language(s): English Issue: 12/2012

Vlastimir Trajković (b. 1947) is a prominent Serbian composer with a strong inclination towards subjects from ancient Greek mythology. Among his most important achievements may be counted Arion – le nuove musiche per chitarra ed archi (1979) and Zephyrus Returns for fl ute, violin and piano (2003). Two important aspects of those works are discussed in the present article: 1. the line that connects them to ancient Greek culture via French Modernism (Debussy, Ravel, Messiaen) and Renaissance poetry and music (Petrarch, Caccini, Monteverdi); 2. modality, which has proved its vitality through long periods of the history of European music, beginning with ancient Greek modes, reaching its high point in the 16th century, and re-emerging at the beginning of the 20th century in different hybrid forms. Trajković is seen as a composer who has shaped his creative identity by exploring the rich musical heritage of the Latin European nations, especially the contributions of Debussy and Ravel.

Трубом кроз гвоздену завесу – продор џеза у социјалистичку Југославију

Author(s): Radina Vučetić / Language(s): Serbian Issue: 13/2012

During the Cold War, jazz became a powerful propaganda weapon in the battle for “hearts and minds”. As early as the 1950s, the American administration began its Cold War “jazz campaign”, by broadcasting the popular jazz radio show Music USA over the Voice of America, and by sending its top jazz artists on world tours. In this specifi c cultural Cold War, Yugoslavia was, as in its overall politics, in a specifi c position between the East and the West. The postwar period in Yugoslavia, following the establishment of the new (socialist) government, was characterized by strong resistance towards jazz as “decadent” music, until 1948 when “no” to Stalin became “yes” to jazz. From the 1950s, jazz entered Yugoslav institutions and media, and during the following two decades, completely conquered the radio, TV, and record industry, as well as the manifestations such as the Youth Day. On account of the openness of the regime during the 1950s and 1960s, Yugoslavia was frequently visited by the greatest jazz stars, such as Dizzy Gillespie, Louis Armstrong and Ella Fitzgerald. In the context of the Cold War, the promotion of jazz in Yugoslavia proved to be benefi cial for both sides – by exporting jazz, America also exported its freedom, culture and system of values, while Yugoslavia showed the West to what extent its political system was open and liberal, at least concerning this type of music.

The reception of Soviet music in the west: A history of sympathy and misunderstandings

Author(s): Levon Hakobian / Language(s): English Issue: 13/2012

In this concise survey, the evolution of Western attitudes to Soviet music is retraced: from a certain interest in the early Soviet avant-garde, through “Cold War” attempts to keep alive the works banned under Stalin, to the support of the Soviet avant-garde of the ’60–70s and the recent vogue for Soviet music of a stylistically “moderate” kind, which has never been popular among Russian connoisseurs. Side by side with manifestations of sympathy, some typical misunderstandings are pointed out.

An enigmatic hymn for saint Petka-Paraskeva: The canon and its interpretation in the thematic replacement of chants

Author(s): Stefan Harkov / Language(s): English Issue: 11/2011

In MS Lavra E–10 / Z–58 from the 17th c. there is a sticheron ….десную Спаса предста дево in plagal second mode (sixth mode) for the service in honour of St. Petka-Paraskeva (14 October). Such a hymn cannot be found in other manu- scripts or printed editions in the service for St Petka. This chant is a unique hym- nographical artefact which is a good example of the literary atmosphere of the early Balkan revival and of an ancient liturgical chant practice – the thematic replacement of chants.

Integration and disintegration: Serbian monophony in a polyphonic context

Author(s): Ivan Moody / Language(s): English Issue: 11/2011

The venerable arguments concerning the validity of harmonized music in the Orthodox Church continue. Serbia is unique in that the codifiers of the monophonic repertoire (in particular Stankoviš and Mokranjac) were also the initiators of the harmonic tradition. Comparison with Bulgaria and Romania prove that there are parallels elsewhere, but the systematic quality of the work of both Stankoviš and Mokranjac is unique. The character of Mokranjac's work in particular is determined by the working out of the harmonic and melodic implications of the monophonic tradition.

Такмичења као облик јавне гусларске праксе

Author(s): Danka Lajić Mihajlović / Language(s): Serbian Issue: 11/2011

This paper offers an ethnomusicological perspective on competitions of guslars (players of a single-stringed musical instrument gusle predominantly used to accompany the voice of a singer reciting epic poetry), here interpreted as a specific form of public music performance. First competitions were organized between World Wars (1924–1933), afterwards being established in 1971 and since then organized (with a short interruption) in Serbia, Montenegro and the Republic of Srpska. Apart from gusle players and the audience participating in this interaction, these competitions introduced into the focus the very organizers as well. The importance of collectivity as an idea interwoven into epic ethos has become a powerful means of manipulation used by authorities. Their interests have been put forward primarily through the poetic content of new songs. Ideology, though, is not only reflected in the competition repertoire. It is also felt in other forms of public gusle playing practice (such as performances with miscellaneous programme, concerts etc.). The sense of competitiveness, as a type of communicational situation, is far strongly felt in the music dimension. Limited in duration, the performance was reduced to only fragments of songs, which, on the other side, caused a change in gusle playing. The traditional style implied economizing with player‟s energy and dramatization tailored to suit the context of long-lasting songs, whereas per-forming of fragments resulted in a more grandiose style aimed at making momentary impression: intensive, vigorous singing in the upper vocal register, using a wide range of expressive devices within short time etc. After studying the competition rules, key formal regulations, and the organization of competitions so far, I discerned that those epic poems have been dominantly regarded as poetry. One of crucial reasons for this is wider communicability of verbal to music discourse, but also more straightforward conveyance of ideological messages through words. Syncretism, which is quintessence of artistic expression in epic poetry, demands paying more attention to the musical component. This artistic expression has always been the domain of players‟ creativity, in contrast to the poetic component which is standardized, fixed, and which a contemporary gusle player is only presenting. The contribution of competition to the evolution of gusle playing practice, especially in regard to its role in the shaping of collective identity, demands reconceptualization of such cultural events in which guslars‟ associations, state institutions and experts would also take part.

Reflections on music and identity in Ethnomusicology

Author(s): Timothy Rice / Language(s): English Issue: 7/2007

The relationship between music and identity became a commonplace theme in ethnomusicology beginning in the early 1980s. This article surveys all 17 articles published in the journal Ethnomusicology in the last 25 years with the word “identity” in the title in order to understand how ethnomusicologists have treated this subject. The survey reveals that the authors of these articles neither cite the general literature on identity nor one another. As a consequence, this article takes on the task of analyzing the ethnomusicological literature around basic questions found in the general literature, including what is identity, where does identity come from, how many identities do we possess, how is identity created, and who defines and institutionalizes identity. It concludes with some reflections on what music contributes to the construction and symbolization of identity.

Bulgarian wedding music between folk and chalg: Politics, markets and current directions

Author(s): Carol Silverman / Language(s): English Issue: 7/2007

This article investigates the performative relationship among folklore, the market, and the state through an analysis of the politics of Bulgarian wedding music. In the socialist period wedding music was condemned by the state and excluded from the category folk but was adored by thousands of fans as a countercultural manifestation. In the postsocialist period wedding music achieved recognition in the West but declined in popularity in Bulgarian as fusion musics, such as chalga (folk/pop), arose and as musicians faced challenges vis-à-vis capitalism. As the state withdrew and became weaker, private companies with profit-making agendas arose. Although it inspired chalga, wedding music began to be seen in contrast to it, as folk music. Recently, fatigue with chalga and nationalistic ideologies are revitalizing wedding music.

Гуслар: индивидуални идентитет и традиција

Author(s): Danka Lajić-Mihajlović / Language(s): Serbian Issue: 7/2007

The subject of this paper is the relation between individual and collective identity within the folk-music tradition, from the perspective of ethnomusicology. Solo folk musicians have more latitude than those who perform in ensembles. They are more independent in developing their own style. As an example of this intermingling of individual and traditional styles, we have chosen Branko Perović, “guslar” (a singer of epic songs who accompanies himself on the “gusle”) – currently one of the very best. Both his extraordinary vocal qualities and his unique combination of temperament and emotions have enabled Perović to develop an original performing style. By comparing the regional, Montenegrin style of gusle-playing (of which Perović is a representative) with his personal style, we have established certain corresponding structures regarding a few basic analytical parameters: musical form at the macro-level, tonal structure, and harmonic structure. Individual characteristics are to be found in melodic patterns, dynamics, agogics and ornaments, and to a certain extent, in rhythm. Although Perović is considered to be an “innovator” among folk musicians, taking a dynamic approach to tradition, he is, however, well received and highly rated in folk music circles, which is proof of his successful communication with his audience. His reputation and influence on other gusle-players makes him a worthy link in the chain of epic tradition. His performance underlines the importance of the connection between traditional music and society, within which he develops his own style according to his capacities and inclinations, although constantly referring to the functional and aesthetic criteria of his cultural environment in which he performs. This is how adopted models are being reshaped by both individual artistic style and the current cultural pattern of a given community. The individual identity (of the musician) is in constant interaction with those of his/her ancestors and contemporaries. The extraordinary, charismatic personalities of a guslar such as Perović, secure the continuation of the tradition into the future.

Образовање је насушни хлеб“: црквено вишегласје, образовни процеси и српски национални идентитет између четврте деценије 19. Века и 1914. Године

Author(s): Ivana Perković-Radak / Language(s): Serbian Issue: 7/2007

Choral church music had different functions in Serbian society of the 19th century. It was a part of many processes or even initiated them itself, broadly affecting the sphere of culture. One of its purposes had strong educational and national implications. In this paper I do not study these as musical and historical elements emphasizing existent social tendencies, but rather as processes that generated certain components through church music (both in the educational sense and in the sphere of broader social structures). The early beginnings of church polyphony among Serbs were marked by choirs comprising older members and pupils. For example, members of the Serbian parish in Pest, who started working together in 1835 and sang the complete Divine Liturgy for the first time in 1838, were both pupils and students. In 1841 and 1842 students of Alexandar Morfidis-Nisis in Novi Sad sang in church, while in the same school year Belgrade high school first introduced choral singing. The comparison of the development of educational systems in states inhabited by Serbs in the 19th century is used as the basis for seeing historical and cultural positioning as one role of choral church music. Certain elements of the national program, such as progress, comprehension of the nation as a community of individuals, distention of the individual, or the process of socialization were shared by church polyphonic singing. These elements are studied in the context of the development of European and Serbian educational systems, mostly from a historical perspective.

The ideology of moderated modernism in Serbian music and musicology

Author(s): Ivana Medić / Language(s): English Issue: 7/2007

The term ‘moderated modernism’ has been current for quite some time in Serbian music historiography, but there have been only a few attempts to define it. I shall try to define the term, introduce some of its key concepts and features and demonstrate its applicability. Although moderated modernism was an international phenomenon which had divergent manifestations in various periods before and after the Second World War throughout Europe, my aim is to focus on the period between the decline of Socialist Realism and the ascent of post-modernism (roughly 1950 to 1980) in socialist Serbia, and to discuss the discourses and ideologies surrounding moderated modernism then and there.

DESPRE ACTIVITATEA DE ANTICAR ȘI COLECȚIONAR A UMANISTULUI ITALIAN LUIGI FERDINANDO MARSIGLI

Author(s): Călin Timoc,Mirela Boncea / Language(s): Romanian Issue: 1/2023

The failure to organize the defense of the Habsburg fortress of Breissach in Bavaria against the French troops, in 1703, abruptly ends the brilliant military career of the genius engineer-general, Luigi Fedinando Marsigli. If on a personal level the dishonor to which he was subjected for the rest of his life brought him a lot of sadness, for us today we can consider this fact a „happy event”. It is practically the moment when, having blocked his chance to continue his career being with the imperial army, Marsigli finds himself forced to return home to Bologna, to his family’s house and to devote himself from now on to the science, a fact otherwise requested by the great university centers of France, Holland and England. They insisted that he should publish his field research gathered on the occasion of marking the borderline between the Habsburg Empire and the Ottoman Empire, according to the provisions of the peace of Karlovitz, from the year 1699. The geographical, historical and demographic knowledge about the Balkan space of the Western Enlightenment universities was very poor and Count Marsigli, as a naturalist and oceanographer already recognized (as a result of his brilliant youthful publications), was the ideal scientist, the only relevant one who could come up with hi-quality information as a witness of the place. As president of the border commission, Marsigli documented himself extremely seriously and thoroughly, often carrying out grueling fieldwork. The Turks often accused him of espionage and abuse in the way he imposed the line demarcating the border and how inquisitive and curious he was. In the two years that the border commission was in operation, it covered more than 1,400 linear km and made many drawings and sketches on the spot, with the precision of a topographer (a science that was not at all foreign to it). He also collected samples of stones, shells, plants and antiquities from all over. Being also a passionate hunter, he collected trophies and stuffed birds from the Balkan forests where he passed. He published all this information selectively, in a very scientific and attractive manner. His large collection of objects and documents are kept in the special fund of the University of Bologna, of the Institute of Sciences in Palazzo Poggi, they still represent a valuable source of information for today researchers of various categories: naturalists, biologists, geographers, geologists, historians, ethnographers, linguists and archaeologists. However, less known to the world is his activity as an antique dealer. With a solid knowledge of ancient material culture and connections in the good world of antiquarians in Italy, Count Marsigli will be very active in the world of European collectors. A good part of what he gathered: antiquities and rare objects, collected from his peregrinations as a soldier-crusader (as it was considered) will be capitalized especially in the 20s of the 18teen century, when the near perspective of a sickly old age and the chronic lack of money will force him to start this activity.

Kapituła Warmińska wobec remontu katedry fromborskiej w pierwszej połowie XIX wieku

Author(s): Marek Jodkowski / Language(s): Polish Issue: 60/2023

In the first half of the 19th century, the Warmia Chapter struggled with a lack of funds to carry out a major renovation of Frombork Cathedral. This was because Prussia was not paying the full subsidy to the Diocese of Warmia that the country’s rulers had committed to. For this reason, the Warmian Chapter took the position that a thorough renovation of the cathedral was the responsibility of the state authorities. In 1834, Karl Friedrich Schinkel informed the Prussian government of the deteriorating technical condition of Frombork Cathedral. A permit was therefore issued for its completion under the supervision of August Bertram and the Supreme Building Deputation. The renovation work was carried out in 1839–1841, and included the restoration of the roofs, walls and gables of the temple. The cathedral was restored to its purist Gothic appearance. The cost of the restoration was 10,984 thalers 17 silver pennies and 5 pfennigs.

„Тонови нарицања, меланхолије и дивљине“ - Зенитистичка побуна и музика

Author(s): Melita Milin / Language(s): Serbian Issue: 5/2005

The aim of writing this article is to analyze how the articles published by Zenith magazine (1921-1926) reflected the role of modern music within the framework of Zenithism - a movement relating to Dadaism and Futurism. The founder of the movement Ljubomir Micić and the Croatian composer Josip Slavenski both settled in Serbia and shared similar views concerning the Zenithist role of art. They sought to create a novel artistic expression free from Western influence, rooted in primitive and intrinsic creative forces of Eastern, and more specifically, Balkan peoples. Nevertheless, the intellectual sophistication and radicalism of their ideas differed somewhat whereas Micić was inclined towards experiment and provocation (i.e. his announcement of a Balkan "Barbarogenius"), Slavenski's aim was to revise and transform the archaisms preserved in old layers of folk music (primarily that of the Balkans), thus yielding an original modernist language. When in 1924 Micić moved from Zagreb to Belgrade, Slavenski was already there, only to leave for Paris in winter of the same year and remain there until the following summer. This may explain Slavenski's single contribution to Zenith, a piece composed before he met Micić. Zenith's articles on music included a positive account of Prokofiev, whose works were seen as representative of the movement's intentions. The article was an abridged translation of Igor Glebov's (pseudonym of Boris Asafiev) text printed in V'ešč (in German). Micić himself was the author of another contribution - a concert review, which served as an opportunity to express his views on contemporary music, one being an appraisal of Stravinsky whose music was felt to correspond to Zenithist aesthetics. He was labeled a musical 'Cubist', who composed music of 'paradox and simultaneity'. In the same article Antun Dobronić (a nationalist Croatian composer) was criticised on the basis that his music was not 'Balkanized' enough. Micić, who obviously had little or no musical education, was unable to find any musical critics who would adhere to his views. Several other articles in Zenith, such as concert reviews and literary texts with reference to both old and new composers, shed more light on the spirit of the movement and contribute to our understanding of it.

Neither East nor West, in between but not a bridge: A riddle for a new discipline, the ethnogeomusicology

Author(s): Izaly Zemtsovsky / Language(s): English Issue: 5/2005

The essence of Eurasia is being in between East and West, North and South. Georgia as a Eurasian country undeniably belongs neither to West nor to East and does not bridge them being geographically flanked by these continents. The self-contained miniature world of part-singing in Georgia is considered as a model for the study of Eurasian polyphony, i.e., an ethnogeomusical unity whose characteristics supposedly occur in different ethnogeographical areas. The author avoids the paradigm of origin and concentrates on an examination of spatial patterns in the distribution of part-singing that constitutes the most puzzling scholarly question.

Положај авангарде у српској музичкој критици и есејистици прве половине XX beka - Српски Књижевни Гласник

Author(s): Aleksandar Vasić / Language(s): Serbian Issue: 5/2005

One of the most excellent periodicals in the history of Serbian literature Serbian Literary Magazine (1901-1914, 1920-1941), also played an exceptionally important part in the history of Serbian music criticism and essay literature. During the period of 35 years, SLM had released nearly 800 articles about music. Majority of that number belongs to the music criticism, but there are also studies and essays about music ethno musicological treatises, polemics, obituary notices, as well as many ample and diverse notes. SLM was published during the time when Serbian society, culture and art were influenced by strong challenges of Europeanization and modernization. Therefore, one of the most complicated questions that music writers of this magazine were confronted with was the question of avant-garde music evaluation. Relation of critics and essay writers to the avant-garde was ambiguous. On one side, SLM's authors accepted modern art in principle, but, on the other side, they questioned that acceptance when facing even a bit radical music composition. This ambivalence as a whole marked the work of Dr Miloje Milojević, the leading music writer of SLM. It is not the same with other critics and essayists Kosta Manojlović was more tolerant, and Dragutin Čolić and Stanislav Vinaver were true protectors of the most avant-garde aspirations in music. First of all SLM was a literary magazine. In the light of that fact it has to be pointed out that very early, way back in 1912, critics wrote about Arnold Schoenberg, and that until the end of existence of this magazine the readers were regularly informed about all important avant-garde styles and composers of European, Serbian and Yugoslav music. The fact that Schoenberg Stravinsky, Honegger or Josip Slavenski mostly were not accepted by critics and essayists, expresses the basic aesthetic position of this magazine. Namely, SLM remained loyal to the moderate wing of modern music, music that had not rejected the tonal principle and inheritance of traditional styles (Baroque, Classicism, Romanticism). Its ideal was the modern national style style that would present the synthesis of relatively modern artistic and technical means and national folklore.

NUMINOUS BUFFALO A FORGOTTEN CHINESE PICTORIAL MOTIF

Author(s): Marek PISZCZEK / Language(s): English Issue: 12/2023