bluuebunny/crossref_metadata_2025 huggingface dataset:
Alphons Diepenbrock and the European world of composers at the fin-de-siècle
Authors: van der
Published: November 2009

The article consists of three parts. In the first part the author gives a survey of the large artistic renewal that took place in the Netherlands around 1900. Special attention is given to "de beweging van Tachtig"(the movement of the "Tachtigers"), a renewal movement in literature in which the composer Alphons Diepenbrock was involved. In the second part a short description of the life and work of this most important Dutch composer of the end of the nineteenth century is given. In his early years Diepenbrock orientated himself to composers like Wagner, especially around the First World War (in which the Netherlands remained a neutral country), and he became a fervent admirer of French art. His music is a unique synthesis of Wagner's chromaticism, the word-bound rhythms of plain-chant and the polyphonic music of the old Flemish schools of Ockeghem and Josquin. In the third part the author deals with a couple of Diepenbrock's (artistic) contacts. There are highlights on Mahler, Sch?nberg and Debussy, primarily based on their correspondence.
About the melodic type of the song cubro maro and about its geographical diffusion
Authors: Jovanovic Jelena
Published: November 2009

The paper considers a melodic type which has been recognized in three regions in Serbia: as a melodic pattern for two spring songs in the region of Crnorecje (Eastern Serbia); in a strizbajska, a sluzbarska and in several wedding songs in the region of Presevo and Bujanovac (Southern Serbia); and in the old town of Prizren (Metohija region) where the same melodic type has been recorded as the first part of numerous wedding songs. These groups of variants are similar in the course of the melody, in their ritual function monophony and ceremonial character. They differ on the level of form, meter ornamentation and, partly, of metric organization (number of syllables) of the verse. The similarity of these melodies might be explained by the metanastic streams from the southern areas to the north. Migrations were permanent throughout the time of Turkish occupation (from the 15th century onwards). One of the oldest streams, which also led to the region of Crnorecje, had been formed in the regions of Kosovo and Metohija. The inhabitants from this region migrated both to the North - to different parts of North and East Serbia - and to the East - to the region of Presevo and Bujanovac. Also, the region of Presevo, together with two smaller river valleys (South Morava and Moravica), is considered to be a middle region between the two big river valleys of Morava and Vardar, significant as directions of migrations towards the North. It may be concluded that this melodic type was brought to the North by migrations as an important and still vital element of the old Southern Serbian ritual tradition. On the other hand, there is another group of variants within this melodic type diffused in other parts of Serbia, with the function of entertainment and in the physiognomy of the songs na bas - of newer rural Serbian vocal style. The trace of these variants should be investigated in the future.
The work of the couple Brailowsky in the mirror of Serbian critiques
Authors: Mosusova Nadezda
Published: November 2009

Leonid (1867-1937) and Rimma (1877-1959) Brailowsky brought to Belgrade National theatre (together with other Russian emigrated stage and costume designers) the spirit of the World of Art (Mir Iskusstva), making d?cor and costumes for 18 performances during the period of 1921-1924. Les romanesques by Edmond Rostand, Le malade imaginaire by Moli?re, Shakespeare's Richard III, Merchant of Venice and King Lear and two Serbian dramas, Offenbach's Hoffmann's Tales, Faust by Gounod, Smetana's Bartered Bride, Bizet's Carmen Onegin and Queen of Spades by Tchaikovsky, Massenet's Manon, The Tsar's Bride by Rimsky-Korsakov, The Wedding of Milos by Petar Konjovic, the Serbian opera composer, two ballets, Sheherazade and Nutcracker. The artists, husband and wife, were praised for their modernization of the Belgrade scene, for their vivid realization of sets and costumes, for their novelties, especially in Serbian historical dramas by Branislav Nusic and Milutin Bojic, and Shakespeare as well. In operas and ballets they were also respected in some extent, but the pictorial, sometimes independent value of their scenic work, although inspired by music, arouse opposing questions among the musical critics, who could not accept their too bright colors which once conquered Paris in the scenic interpretation of Leon Bakst or Nikolai Roerich. To avoid resistance of Belgrade critics the couple decided to leave Yugoslav capital for Italy where they continued successfully their artistic career.
A critical review of the most important sources on Dimitris Mitropoulos 1896-1960
Authors: Siopsi Anastasia
Published: November 2009

As most important books on Dimitris Mitropoulos should be mentioned those by Apostolos Kostios, William R. Trotter and Takis Kalogeropoulos. Two other editions are also valuable: the correspondence Mitropoulos - Katy Katsoyanis, and the selected texts of the artist. Mitropoulos had difficult relations with his Greek colleagues, especially after his emigration to the United States of America in 1939. At the time when the most important Greek composers strove to create a national school of music he made it clear that he did not like the idea of national music. He developed a neutral or even indifferent attitude towards musical activities in Greece and rarely included Greek compositions in his repertoire.
Texture et matériau dans la pensée musicale contemporaine
Authors: Bosseur Jean-Yves
Published: November 2009

(francuski) Le mot texture d?signe, selon la d?finition du dictionnaire Robert, la disposition des fils d'une chose tiss?e, s'appliquant tout naturellement aux principles du tissage et, par extension, peut concerner l'arrangement d' ?l?ments sonores. Dans le vocabulaire musical, le terme "texture" est peu fr?quent et le plus souvent ignor? par les dictionnaires sp?cialis?s; cette notion occupe pourtant une place d?terminante dans la r?flexion d'un grand nombre de compositeurs depuis les ann?es cinquante. Permettant d'envisager notamment sous un angle nouveau les questions du timbre et la conception de l'?criture orchestrale, elle sera envisag?e successivement dans des ?uvres de Ligeti, Lutoslawski, Brown, Carter, Feldman et ? travers la d?marche ?lectro-acoustique.
From modernism to socialist realism in four years: Myaskovsky and Asafyev
Authors: Frolova-Walker Marina
Published: November 2009

Two outstanding personalities of the Soviet musical life in the 1920's, the composer Nikolay Myaskovsky and the musicologist Boris Asafyev, both exponents of modernism, made volte-faces towards traditionalism at the beginning of the next decade. Myaskovsky's Symphony no. 12 (1931) and Asafyev's ballet The Flames of Paris (1932) became models for Socialist Realism in music. The letters exchanged between the two men testify to the formers uneasiness at the great success of those of his works he considered not valuable enough, whereas the latter was quite satisfied with his new career as composer. The examples of Myaskovsky and Asafyev show that early Soviet modernists made their move away from avant-garde creativity well before they faced any real danger from the bureaucracy.
Stylistic directions in Stevan Hristic’s oratorio Vaskrsenje, Resurrection: The question of crossroads-traditions in Serbian music at the beginning of the twentieth century
Authors: Tomasevic Katarina
Published: November 2009

Vaskrsenje (Resurrection) which was composed by Stevan Hristic (libretto Dragutin Ilic) was a first oratorio in Serbian music. The libretto was published in a journal Odjek (Echo) in 1909, with the first performance in 1912 at the Belgrade National Theatre. During the period 1909-1912, the young composer studied church music in Moscow and Rome. He studied with Dom Lorenzo Perosi in Rome, who was a director of the Sistine Chapel at the time, and a leading composer of church music. Perosi also composed two oratorios with the Resurrection as a subject-matter. His stay in Rome, as well as the encounter with the contemporary Italian style of church music left a strong impression on Hristic and his later opus. The oratorio Resurrection is freely permeated with both romantic and impressionist elements, hence the impression of the typically Western fin-de-si?cle style. Compared to Serbian performances until that time, Hristic?s work represented a complete novelty in its style and genre; it was considered as one of the first works of Serbian musical Modernism. Despite the audience?s positive reception, the oratorio was faced with a highly negative criticism of Jovan Zorko and Miloje Milojevic. Both of them criticized Hristic for not having composed the work in the spirit of "national music". Hristic defended his poetics claiming that the idea of composing a national music did not comprise the use of folk melodies, but rather composing according to the highest professional and aesthetic criteria. A debate which was anticipated concerning the meaning and the importance of "national" poetics arose as a reaction to Resurrection. This debate remained important in two ways: 1) it remained a "typical" debate for the dynamic development of Serbian music following the World War I and 2) it became the central characteristic of the overall artistic development in Serbia during the interwar period, which was "coming close" and eventually became the part of Europe.
Samuel Beckett and music an absurd essay about the idea of musicality and musical form in Samuel Beckett’s short pieces - influences and possibilities
Authors: Mosusova Nadezda
Published: November 2009

The premise of musicality of Beckett?s short dramas contains more questions than answers. Is the musicality of text present only in the work of Samuel Beckett? Do only the (musical) stage remarks in Beckett?s dramas suggest the idea of musicality? Can the absurdity of his output be expressed with music and through music? Some short musical compositions, especially by Alexandre Scriabine, can be in some way compared with Beckett?s "dramaticules", but only in form not in the meaning and musical language. The question of hidden influences remains to be developed.
Roman Ingarden’s theory of intentional musical work
Authors: Stęszewski Jan
Published: November 2009

Roman Ingarden (1893-1970) is a representative of the phenomenological trend in philosophy. He pursued his ontological interests in his fundamental treatise Das literarische Kunstwerk that was the starting point for his studies of other areas of art including music. For Ingarden, direct musical experience is a starting point for philosophical reflection, which should be free from any theoretical prejudice. He considers the essence of the musical work in such dimensions as ontological, the work?s structure, its perception and axiology (aesthetics). Ingarden formulates a thesis about a single layer of the musical work, an aspect which distinguishes music from other works of art. A musical work is for him a purely intentional object whose origins spring from creative acts of composers and whose ontological basis rests directly in the score.
Petar Bergamo’s symphonic compositions: Perspectives of the 1960s and 1990s
Authors: Simonovic-Schiff Jelena
Published: November 2009

This article deals with the orchestral opus of Petar Bergamo, a Croat composer whose most productive period was linked to Beograd, Serbia where he lived and worked at the time. In four works: First Symphony overture-phantasy Navigare necesse est, Musica Concertante and Second Symphony, all conceived in just four consecutive years (1960 - 1963), the matter being treated through author?s technical tools includes authentic materials, autoquotations, quasiquotations, quotations, and the ?fund? mode (fundus). Fragments of musical history embedded in the newly established structure, void of tonal components and orchestrated in great detail to achieve the coloration which may prevail the actual form, introduced to Serbian practice a new respect for the old. Since it was new, Bergamo?s contribution could not have been determined at that time in all of its significance. Laying his agenda on the dead-end street of what was considered modern art, Bergamo earned an attribute of post, regarding his respect for the past. The reception of Bergamo?s opus is viewed here through various articles and critiques from the time of its inception as well as thirty years later. From the viewpoint of the 1990s it appears that his language or at least some of its elements had become the impetus for one particular stream of local compositional teaching. As such, this strengthens his position as a fundamental innovator, and labels him as the one who imposed the post in modern Serbian music.
Symbolism and theatre of masques: The deathly carnival of la belle époque
Authors: Mosusova Nadezda
Published: November 2009

The junction of the nineteenth and twentieth centuries in Europe sharpened the clash of artistic novelties in the Western and Slavonic worlds, caused by developed Symbolism and Expressionism. As an output of the former reappeared in the "Jahrhundertwende" the transformed characters of the Commedia dell'arte, flourished in art, literature and music in Italy France, Austria and Russia. Exponents of Italian Renaissance theatre Stravinsky's Petrushka (1911) and Sch?nberg's Pierrot lunaire (1912) turned soon to be main works of the Russian and Austrian expressionistic music style, inaugurated by Strauss's Salome, which won opera stages from the 1905 on. Influences of the latter were widespread and unexpected, reaching later the "remote" areas of the Austro-Hungarian Empire, as well as the Balkans (in 1907 the Canadian dancer Maud Allan performed The Vision of Salome in Belgrade - music Marcel Remy - making her debut in Vienna 1903). Compositions of Strauss and Sch?nberg (Erwartung included) reflected also the strong cult of death present in Vienna's Finde-si?cle Symbolism concerning among other works plays by Wedekind and Schnitzler (Veil of Pierrette was staged successfully in Russia, too), with prototypes in Schumann's Carnival and Masquerade by Lermontov (both works written in 1834!). It was not by chance that Schumann's piano suite became one of the first ballets of Diaghilev's Saisons Russes (1910) and Masquerade, performed with the incidental music by Alexander Glazunov, the last pre-revolutionary piece of Vsevolod Meyerhold (1917).
Eastern naturalness versus western artificiality: Rimsky Korsakov's influence on Manoles Kalomoires' early operas
Authors: Romanou Aikaterini
Published: November 2009

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 Rimsky-Korsakov's work is the contrast between the world of freedom, nature and fantasy and that of oppression.
The East and the West in the polemical context of the Serbian music between the two World Wars
Authors: Tomasevic Katarina
Published: November 2009

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 Veselinovic-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 Milojevic, Petar Konjovic 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.
Two orients in Rudolf Bruci's opera Gilgamesh
Authors: Radovic Branka
Published: November 2009

The theme of this article is the ancient Orient as imagined by the Serbian composer Rudolf Bruci (1917-2002). The finale of his monumental opera Gilgamesh (1986; libretto by Arsa Milosevic), makes display of heterogeneous musical material based on different oriental scales. The modernity of the opera is affirmed through the usage of varied techniques of 20th century composition. It is hard to explain why Bruci introduced the well-known medieval church melody "Ninja sili nebesniye" ("Now the celestial powers") into the finale of his opera. The melody was signed by kir Stephan the Serb and has been preserved in a 15th century manuscript. The quotation of "Ninja sili" in the finale of Gilgamesh could be interpreted as an attempt at bridging the many centuries that divide the ancient times that gave birth to the Assyrian myth and our contemporary world, by making reference to the heritage of medieval Serbia when that state was a part of the Byzantine world stretching from the middle East to the Balkans. That compositional gesture of Rudolf Bruci seems to have the meaning of questioning the historical and cultural place and identity of the Serbs through the centuries. If that is correctly interpreted, the composer thus gave his own contribution to the often discussed question of the Serbian belonging to both the East and the West. The "two Orients" in the title of the article are an allusion to the pagan and the Christian Orients, but they can also provoke a discussion of the contemporary divisions between the East and the West.
Korean opera-film Chunhyang and the trans-cultural politics of the voice
Authors: Joe Jeongwon
Published: November 2009

This essay examines a Korean opera-film Chunhyang (2000) to show how it departs from the standard practice of Western opera-film and how its uniqueness is generated by the characteristics of indigenous Korean opera P'ansori. In spite of its uniqueness, however, Chunhyang shows its affinities with its Western sisters by confirming what has been criticized by many feminist scholars as one of the most serious problems in the Western tradition of cinema, especially Hollywood's classical films: namely, the gendered politics of the voice.
Zur kompositorischen Arbeit von Vitezslav Novák an Beispielen von Materialien der Kammermusik-werke
Authors: Krupkovä Lenka
Published: November 2009

(nemacki) Man kann den Entwicklungsprozess im Bereich der Mikrostruktur der Komposition in Nov?ks Kammermusikwerke, also der eigentlichen motivischthematischen Arbeit, betrachten. In dem Bestreben, auf das romantische, auf umfangreichen thematischen Gebilden basierende Klischee zu verzichten, n?herte sich Nov?k der kompositorischen Methode von Johannes Brahms, der Nov?ks rationellem Denken nah verwandt war, an. Noch vor dem Entstehen des II. Sch?nbergs Quartetts schuf Nov?k das Balladesken Trio, in dem auf der Ebene eines ununterbrochenen Satzes einzelne Teile des Sonatenzyklus durchlaufen und in dem die Sonatenexposition sogar Merkmale eines selbstst?ndigen Sonatensatzes aufweist.
Serbian Literary Magazine and avant-garde music
Authors: Vasic Aleksandar
Published: November 2009

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 Milojevic, the leading music writer of SLM. It is not the same with other critics and essayists Kosta Manojlovic was more tolerant, and Dragutin Colic 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.
Olivier Messiaen's quartet for the end of time, secret of form: Movement VI
Authors: Maksimovic Svetlana
Published: November 2009

Knowing that Messiaen's early period, especially The Quartet for the End of Time, got so many written comments and discussions and from renowned critics, musicologists and composers it is hard to believe that anything different could possibly come out about the structure, form or concept in his work. Still, another look at these works would be valuable, since the concept of form is far from explored. The focal point of this text is the sixth movement from the Quartet and its concept of form. It unveils the relation between Messiaen's music ideas and the ancient Greek tragedy and the depth of the influence that Greek art had on his concept of form. The influence goes as far as the "suggestion of ring composition".
Contemporary musical historiography and the problems of the methodological approach
Authors: Vasic Aleksandar
Published: November 2009

The first foreign review of the general history of music translated to Serbian language was Karl Nef's Einf?hrung in die Musikgeschichte. It was published in Belgrade, in 1937. During the '70s and '80s of the 20th century, there were translated popularly conceived histories of music of Luciano Alberti and Nobert Difourc. In 2002/2004 the Belgrade publisher "Clio" issued the second and third volume of Gerald Abraham's Concise Oxford History of Music. It was estimated that the long pause, as well as the choice of the prominent British author, present strong reasons for detailed critical study approach to the latest edition. The character of the study is threefold and interdisciplinary: musicological, philological and bibliographical. The first part of the study is the analysis of the writer's methodological procedure that can be discussed. Namely, next to the significant virtues in expert and style such as conciseness in statements original observations and evaluations, and literate, aesthetic attractiveness, Abraham's book also contains contradictory of methodological character. The writer is not completely consistent in conducting of the chosen methodological procedure. On one side, he does not describe the history of European music with period terms such as baroque, classicism impressionism or expressionism. On the other side, he nevertheless uses period terms in some way, but only in relation to the music of the 19th century. The only style that The Concise Oxford History of Music elaborates is Romanticism. Such inconsistent ness cannot be justified even more from the aspect of potential student readers of this reference book. The second part of disquisition contains analysis and evaluation of the Serbian translation of Abraham's History. That philological section of the work discusses mistakes in translation, controversial examples of transcription and adaptation of foreign names, grammatical, lexical and punctuation omissions. Also, examples show almost complete absence of necessary musicological and literary comments and processing of the original text in Serbian translation.
Three bars by Wittgenstein
Authors: Heijerman Erik
Published: November 2009

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Modernism and tradition and the traditions of modernism
Authors: Kros Dzonatan
Published: November 2009

Conventionally, the story of musical modernism has been told in terms of a catastrophic break with the (tonal) past and the search for entirely new techniques and modes of expression suitable to a new age. The resulting notion of a single, linear, modernist mainstream (predicated on the basis of a Schoenbergian model of musical progress) has served to conceal a more subtle relationship between past and present. Increasingly, it is being recognized that there exist many modernisms and their various identities are forged from a continual renegotiation between past and present, between tradition(s) and the avant-garde. This is especially relevant when attempting to discuss the reception of modernism outside central Europe, where the adoption of (Germanic) avant-garde attitudes was often interpreted as being "unpatriotic". The case of Great Britain is examined in detail: Harrison Birtwistle?s opera The Mask of Orpheus (1973?83) forms the focus for a wider discussion of modernism within the context of late/post-modern thought.
"Au–delà d’une musique informelle": Nostalgia, obsolescence and the avant-garde
Authors: Krejmer Lorens
Published: November 2009

This essay draws on the concepts of profane illumination and the inform to develop a model of the avant-garde in relation to obsolescence and nostalgia. The model is illustrated musically by accounts of two American works, the finale of Charles Ives?s Second Orchestral Set (1915) and John Cage?s Imaginary Landscape No. 4 for twelve radios (1951).
The birth of contemporary Russia out of the spirit of Russian music
Authors: Taraskin Ricard
Published: November 2009

In this article, the author observes and discusses the effects of Russian history on Russian music in the second half of the XXth century. Forming part of author?s long-range persistent polemics against Russian exceptionalism and against the kind of romantic overvaluation of art, the article expresses sharp and provocative views of the main stylistic tendencies in Soviet and Russian music during and after the epoch of the Cold War, as well as after the Second Russian Revolution in 1991. Special attention is paid to the activity and works of the most prominent Russian composers of their time Andrey Volkonsky, Edison Denisov, Nikolai Keretnikov, Arvo P?rt, Elena Frisova, Sofia Gubaidulina and Alfred Schnittke.
Stochastic Jeux
Authors: Romanu Ekaterini
Published: November 2009

This article shows the similarities between Claude Debussy?s and Iannis Xenakis? philosophy of music and work, in particular the formers Jeux and the latter?s Metastasis and the stochastic works succeeding it, which seem to proceed parallel (with no personal contact) to what is perceived as the evolution of 20th century Western music. Those two composers observed the dominant (German) tradition as outsiders, and negated some of its elements considered as constant or natural by "traditional" innovators (i.e. serialists): the linearity of musical texture, its form and rhythm.
Entre avant-garde et trans-avant-garde: Sur quelques oeuvres de László Dubrovay des années 1980
Authors: Graboc Marta
Published: November 2009

(francuski) L?article pr?sente un moment rare et exceptionnel dans l?histoire de la cr?ation hongroise des ann?es 1980: quand L?szl? Dubrovay, compositeur hongrois, a pu r?concilier la tradition et l?innovation, l?avant-garde et le transavant- garde, les styles moderne et post-moderne. A cette ?poque, il faisait usage de ces travaux men?s dans les studios ?lectroacoustiques de Cologne, Berlin et Budapest entre 1970?85, en transposant ces exp?riences sur l??criture instrumentale (musique de chambre, pi?ces solos, etc) Selon la terminologie actuelle, sa musique est ? la fois "spectrale" et celle s?inspirant des traditions europ?ennes les plus nobles au niveau de la structuration des oeuvres. Ce travail analytique essai de d?montrer que les nouvelles structures sonores peuvent ?tre tout ? fait compatibles avec certains styles et formes de la musique des 18e-19e si?cles. Les oeuvres examin?es sont: le IIIe quatuor, les Solos N? 3 et N?5, Octuor, et la Symphonia.
Contextualization of early modernism in Serbian music: Case studies of two works from 1912
Authors: Milanovic Biljana
Published: November 2009

This study deals with the first Serbian oratorio, Vaskrsenje (Resurrection) by Stevan Hristic, and the first Serbian musical drama, Divina Tragoedia by Milenko Paunovic. These works are based on two different interpretations of the same theme (the Resurrection of Jesus Christ). They were composed almost at the same time (1912), but separately, with no inter-textual relations. They represent the first steps of Modernism in Serbian music. Hristic?s work follows the French and Italian heritage whereas Paunovic?s is connected with the German, post-Wagnerian tradition. In this text we highlight the different intensities of modernity realized by the composers, by comparing numerous aspects of the theme, genre and style with new types of expressiveness and procedures in the treatment of all musical resources. The parallel investigation of the oratorio and musical drama shows the closeness of these two young composers in their musical attempts, but also emphasizes some factors that were decisive for the public presentation of their works. Hristic predicted that the genre of oratorio had better chances of placement than, for example, a symphonic or musical-dramatic composition. Actually, a choir had strong links with tradition and it presented a significant means of potential communication, as well as penetrating novelties into other parts of the oratorio. Due to his readiness to make an effort and to compromise, the composer succeeded in performing his work. On the other hand, Paunovic did not anticipate problems in the national cultural system of his time. Numerous aspects of his work, which prevented performance, confirm this. The chosen genre of German musical drama was a very speculative investment in the local musical context. Furthermore, the score was inappropriate for the real reproductive potential of Serbian performers. In addition, an avant-garde gesture was marked by the blasphemous treatment of the New-Testament theme in the dramatic content. These were among the most important indications of the author's unrealistic estimation of potential public reception of his music. Modern works of large-scale genre had no prospects of continual survival on the concert repertoire in the period between the two World Wars, either. This testifies to long-standing problems of national musical tradition, especially in consequence of its discontinued and uneven development. This study of early modernism shows the value of researching Serbian music through different cultural models existing in the system of national art of this time. The network of political, economical and cultural institutions was imbued with modern bourgeois culture, but the struggle for its wider acceptance in the domains of everyday life, self-consciousness, and the mentality and taste of different social groups and individuals, was slow and long. Such attempts have not always and fully realized the particular burden of inheritance, reflected in recent times.
Cut and paste pictures in surrealism
Authors: Todic Milanka
Published: November 2009

Proceeding from the idea of the readymade, Marko Ristic?s, Vane Bor?s and Dusan Matic?s collages regroup readymade pictorial and textual matrices according to the rules of free associative syntax. Everything that they collected cut out and pasted bears the hallmark of personal choice, i.e. objective chance, as the Surrealists would say. In the new structure of the collage, picture and text were of equal importance. However, we should not forget that both picture and text were only fragments, of different origin so that they could not function as autonomous elements in their own right nor could they establish logical interlinks. Cut and paste picture in Surrealism are primarily registered as visual wholes, in which the former principle of harmony has been substituted by the principle of discontinuity. In fact, they do not aspire to establish closed and unambiguous semantic structures either on a single paper or within a cycle, disregarding as they do conventional narrative and illustrative order in representing reality.
The politics of power, pleasure and prayer in the Eurovision Song Contest
Authors: Bolman Filip
Published: November 2009

Since the first annual Eurovision Song Contest in 1956, politics and popularity have intersected to influence the ways in which Eurovision songs have reflected the complex forms of European nationalism. With the Eurovision victory of Marija Serifovic?s ?Molitva? at the 52nd Eurovision in Helsinki the politics of regionalism and nationalism fully enveloped Southeastern Europe, creating the impression that old and new European alignments, from Habsburg nostalgia to an emerging Balkan brotherhood, overwhelmed the criteria that would otherwise mean that the grand prix would go to the best song. Taking Marija Serifovic?s ?Molitva? 2007 as a point of departure, this article examines the extremely complex set of networks that intersect at the Eurovision Song Contest and the national rituals and competitions that transform the power and pleasure driving European popular song in the twenty-first century.
Bulgarian wedding music between folk and chalg: Politics, markets and current directions
Authors: Silverman Kerol
Published: November 2009

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 counter-cultural manifestation. In the post-socialist period wedding music achieved recognition in the West but declined in popularity in Bulgarian as fusion music's, such as chalga (folk/pop), arose and as musicians faced challenges vis-?-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.
Instrumental'naja muzyka i ëtnoistoriceskaja identifikacija: Samosoznanie i tradicija
Authors: Macijevski Igor
Published: November 2009

(ruski) Tema stat'i - rol' tradicionnyh muzykal'nyh instrumentov, zanrov i form instrumental'noj muzyki v vyjavlenii ?tniceskoj i kul'turno-istoriceskoj specifiki toj ili inoj ?tnokul'turnoj populjacii, pozvoljajuscej dat' ee ob''ektivnuju interpretaciju i otnesti k opredelennomu ?tnosu v nastojascem ili proslom, tem bolee, cto ?tnoistoriceskaja specifika instrumentalizma mozet sohranjat'sja pri pol- noj utere nacional'nogo samosoznanija i daze jazyka obscenija. Rassmotreny kul'turnye situacii v marginal'nyh ?tnogruppah (zivuscih na svoej ?tniceskoj territorii, no okazavsejsja v processe istoriceskih kollizij v sostave inonacional'nogo gosudarstva i v pole dejstvija odnovremenno neskol'kih integracionnyh vektorov - gosudarstvennoj i ?tniceskoj metropolij); a takze v kompaktnyh diasporah. Ucteny gosudarstvennye, politiceskie, konfessional'nye faktory vozdejstvija na ?tniceskuju identifikaciju i kul'turu. Rassmotreny predposylki i processy vozrozdenija ?tniceskoj identicnosti, obuslovlennye rassireniem sfery znanij i kul'turnyh iniciativ mestnoj intelligencii, v tom cisle v sfere tradicionnoj muzyki. Osoboe vnimanie v stat'e obrasceno lokal'nym gruppam so slabym, mutirovannym ili assimilirovannym nacional'nym samosoznaniem. Material stat'i - belorusskie, ukrainskie, vepsskie, bojkovskie volzsko-nemeckie, saamskie ?tnogruppy v Rossii, Ukraine, Pol'se, Litve Latvii, Germanii.
Reception of the Istrian musical tradition(s)
Authors: Marusic Dario
Published: November 2009

The successive colonization of Istria with culturally differentiated populations, and peripheral position of the peninsula regarding both the Latin and Slav worlds, has conditioned interesting phenomena which defines the traditional life of the province. On the spiritual level it is primarily reflected in two cultural dimensions: the language and traditional music.
Can music progress?: Reflections on the history of popular music
Authors: Frit Sajmon
Published: November 2009

This paper considers schematically the various discourses through which popular music history is understood. My proposal is that five accounts of musical history (the business model, the musicological model, the sociological model, the historical model and the art history model) are commonly deployed in popular music discourse. One implies, superficially at least, that popular music evolves, gets better; four implies that, at least in the longer term, it does not. The concept of ?progress? is shown to be problematic.
The ideology of moderated modernism in Serbian music and musicology
Authors: Medic Ivana
Published: November 2009

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.
New age in Serbia, Zoran Simjanovic: New ideas symphony
Authors: Radovic Branka
Published: November 2009

?New age? was a trend which appeared in the music of the 1980?s, bringing a new dimension to art music in general, especially in its reception. At first its development was stimulated by technological inventions, ?the technological craze?, by new carriers of sound, simultaneously globalizing art and making it widely accessible. This new trend includes quite disparate categories. It does not distance itself from subculture, and in art music it gravitates towards cosmopolitism while being permeated with other musical trends such as pop, rock, jazz and other phenomena of show business and popular art. This trend was originally found in the large number of occult writing which flooded book markets all over the world, to which Umberto Eco gave an important base (Foucault's Pendulum and others). In his essay on the music of the eighties, Peter Niklas Wilson, one of the most significant theoreticians of this movement, researches into all elements of those novelties, not hesitating to call this art eclectic, commercial and the like. Examples of Serbian music get into such style directives. The New Ideas Symphony by film score composer Zoran Simjanovic, was performed in the open air at Kalemegdan fortress in 2006, before an audience of about one thousand people. Since then the recording has often been broadcast on television and radio channels. In its combination of folklore and film models, traces of rock, pop, and jazz can also be found, in a score with all symphonic characteristics. This attempt is a fascinating item for research as well as a pleasure to be listened to.
Balkans as a cultural symbol in the Serbian music of the first half of the twentieth century
Authors: Milanovic Biljana
Published: November 2009

Focus on the internalization of Western images in the Balkans has special significance in researching Serbian art. The functioning of Balkanism as it overlapped and intersected with Orientalism is indicated in the text by an examination of the cases of Petar Konjovic, Miloje Milojevic and Josip Slavenski, the three significant composers working in Serbia during the first half of the twentieth century. Their modernistic projects present different metaphors of the Balkans. Nevertheless each of them is marked by desire to change the Balkan image into a 'positive' one and thus stands as a special voice for Serbian and regional placing in European competition for musical spaces.
Dimitri Mitropoulos: Lonesome passage to modern music
Authors: Belonis Yanis
Published: November 2009

It is not widely known that Dimitri Mitropoulos first public appearances in Greece were as a composer. His early works (ca. 1912-1924), distinguished by the blend of elements of the late-romantic style with intensely impressionistic references, reflect the search for a personal, 'advanced' harmonic musical language. In his works written after 1924, Mitropoulos abandons tonality and adopts more modern idioms of composition (atonality and 12-tone method). He is the first Greek composer to follow the modern musical tendencies of Europe, when music by Manolis Kalomiris and the other composers of the Greek National School was dominant in Greece.
Style and ideology: The cold war 'blend' in Greece
Authors: Romanu Keti
Published: November 2009

This paper describes cultural policy in Greece from the end of World War II up to the fall of the junta of colonels in 1974. The writer's object is to show how the Cold War favoured defeated Western countries, which participated effectively in the globalisation of American culture, as in the Western world de-nazification was transformed into a purge of communism. Using the careers of three composers active in communist resistance organizations as examples (Iannis Xenakis, Mikis Theodorakis and Alecos Xenos), the writer describes the repercussions of this phenomenon in Greek musical life and creativity.
Post in the 'modern': Greek film music and the work of Nikos Mamangakis
Authors: Pulakis Nik
Published: November 2009

This article is focused on Nikos Mamangakis, one of the most ambiguous art-popular composers in Greece. His compositions for cinema are also quite provocative. Mamangakis' cooperation with Finos Film (the major Greek film production company in post-war era) and, on the contrary, his collaboration with Nikos Perakis (one of the most well-known contemporary film directors) vividly illustrate the transformation of film music from the so-called Old to the New Greek Cinema. Through an overall analysis of two of Mamangakis' most important film scores, I hope to reveal the transition process from a realistic modernist perspective to a postmodern one. A second goal is to present critically the general ideological shift in Greek socio-cultural sphere following the seventies change of polity. This paper underlines the perception of Greek music culture as a special case of Western music, which however holds its very distinct stylistic idioms, cultural practices and ideological functions.
From communism to capitalism via the wars: The landscape of Serbian music 1985-2005
Authors: Milin Melita
Published: November 2009

Two related processes were taking place in ex-Yugoslavia during the chosen period: 1) The transition from communism to capitalism, and 2) unsuccessful dealing with the political/economical crisis that led to the wars in the 1990s, both followed by the necessity to face the outcome and establish new identities. Although those eventful and tragic two decades have deeply shaken Serbian society, the art music production has not mirrored them in ways that might have been expected. Whereas pacifistic and oppositional political ideas were openly voiced in the public life, the majority of composers wished to distance themselves from explicit engagement in their works. That was probably due to the mistrust that art music, whose influence has always been very limited in the country, could make a strong impact on the political events.
Sublime and precise: Mind sonorities of Vlastimir Pericic
Authors: Stojanovic-Novicic Dragana
Published: November 2009

Author discusses the course and results of the professional activity of Serbian composer and musicologist Vlastimir Pericic (1927-2000). At the beginning of his career Pericic was a promising young composer who won a prestigous Vercelli Competition Prize in 1950 for his String quartet. His style was characterized by post-romantic musical expression. He was convinced that a tonal system was the only acceptable base for making new music. In that sense, he came close to Paul Hindemith's approach to the world of new sonorities. The author explains Pericic's position in the context of Serbian music of the second half of the 20th century. He was considered somewhat conservative because he never accepted avant-garde techniques and procedures. His imagination and concentration on compositional process made him competent in the technical realization of his rich musical ideas. On the other hand, he was a shy personality who had never been penetrating enough to promote his own works. Hence, during the last decades of his life (when he stopped composing) almost no one was conscious of the great value of his works. Pericic suddenly interrupted his compositional career in the mid 1960s and thereafter devoted himself to theoretical work. His books on counterpoint harmony, and Serbian composers, many articles on contemporary Serbian composers, as well as his major multilingual dictionary of musical terms which includes seven languages, were among the finest fruits of Serbian theoretical achievements in the field of music. Now is the moment to reexamine Pericic's opus because his compositional achievements, as well as his theoretical studies, were of the highest quality. Pericic was a real part of the European music elite as a composer and musicologist, but he never received adequate professional recognition, especially in a broader European context.