bluuebunny/crossref_metadata_2025 huggingface dataset:
Maternal parity and its effect on adipose tissue deposition and endocrine sensitivity in the postnatal sheep
Authors: Hyatt M A , Keisler D H , Budge H , Symonds M E
Published: November 2009

Maternal parity influences size at birth, postnatal growth and body composition with firstborn infants being more likely to be smaller with increased fat mass, suggesting that adiposity is set in early life. The precise effect of parity on fat mass and its endocrine sensitivity remains unclear and was, therefore, investigated in the present study. We utilised an established sheep model in which perirenal–abdominal fat mass (the major fat depot in the neonatal sheep) increases ∼10-fold over the first month of life and focussed on the impact of parity on glucocorticoid sensitivity and adipokine expression in the adipocyte. Twin-bearing sheep of similar body weight and adiposity that consumed identical diets were utilised, and maternal blood samples were taken at 130 days of gestation. One offspring from each twin pair was sampled at 1 day of age, coincident with the time of maximal recruitment of uncoupling protein 1 (UCP1), whilst its sibling was sampled at 1 month, when UCP1 had disappeared. Plasma leptin was lower in nulliparous mothers than in multiparous mothers, and offspring of nulliparous mothers possessed more adipose tissue with increased mRNA abundance of leptin, glucocorticoid receptor and UCP2, adaptations that persisted up to 1 month of age when gene expression for interleukin-6 and adiponectin was also raised. The increase in fat mass associated with firstborn status is therefore accompanied by a resetting of the leptin and glucocorticoid axis within the adipocyte. Our findings emphasise the importance of parity in determining adipose tissue development and that firstborn offspring have an increased capacity for adipogenesis which may be critical in determining later adiposity.
Musikerbriefe als Spiegel überregionaler Kulturbeziehungen in Mittel - und Osteuropa
Authors: Loos Helmut
Published: November 2009

(nemacki) Traditionell ist die Musikgeschichtsschreibung nicht nur in Deutschland, sondern auch im ?stlichen Europa sehr stark nationalen Kriterien verpflichtet, und Musik wird vor allem als Nationalkultur verstanden. Dem gegen?ber stehen viele Verflechtungen von Musikern, die in vergangenen Jahrhunderten h?ufig an vielen Orten Europas anwesend und t?tig waren. Diese Verbindungen sind immer wieder einmal thematisiert, aber nur ansatzweise systematisch erforscht worden. Die ?berregionale Korrespondenz der Musiker im mittleren und ?stlichen Europa macht nicht nur europ?ische Verflechtungen sichtbar, sie liefert auch authentische Einsch?tzungen der Erfahrungen, die an verschiedenen Orten gesammelt wurden. Insgesamt ist zu erwarten, da? Europa im Spiegel der Musikerbriefe als der zusammenh?ngende Kulturraum im Musikleben erscheint, als der er bis weit ins 20. Jahrhundert hinein existierte.
The correspondence between Miodrag Vasiljevic and Bulgarian Musicians
Authors: Jovanovic Jelena
Published: November 2009

The Serbian ethnomusicologist and music pedagogue Miodrag A. Vasiljevic corresponded with colleagues from neighboring Bulgaria between 1934 and 1962. This exchange of letters went through three phases. The first phase was linked with his stay in Skopje until the breakout of World War II; during the second phase - in the course of the 1940's - he was active in the Department for Folk Music at Radio Belgrade and he founded his method of music teaching on traditional Serbian music; in the third phase (the 1950's and beginning of 1960's) Vasiljevic aimed at a closer cooperation with Bulgarian musicians. All the phases are characterized by his pronounced interest in the folk music heritage of Balkan peoples. At the beginning that interest was focused on popularizing art music that was based on folk music. Later, he enthusiastically carried out his reforms of music teaching in Serbia, as well as improvements of methods in Serbian ethnomusicology.
Le système de l'harmonie de Rameau dans sa correspondance avec d'Alembert et Rousseau
Authors: Stefanovic Ana
Published: November 2009

(francuski) L'article examine la correspondance pol?mique de Rameau avec d'Alembert et Rousseau, entretenue dans la sixi?me d?c?nie du XVIIIe si?cle. Le syst?me de l'harmonie de Rameau y est affront? ? deux d?fis contradictoires: d'un c?t?, ? la provocation d'absolutisation du syst?me venant de son int?riorit?-m?me, et de l'autre, ? une nouvelle conception de l'autonomie musicale, con?ue sur le geste anarchique et destructif envers lui. Tandis que, de la pol?mique avec d'Alembert, le syst?me vient de ressortir assur? et renforc?, soutenant la supr?matie de la musique dans le champ th?orique, la pol?mique avec Rousseau d?montre que l'autonomie scientifique n'entra?ne pas de soi l'isolation de la musique dans le domaine esth?tique. Fond? sur le r?seau coh?rent de ses propres r?gles, le syst?me musical est apte de se plier, de se modifier sous l'influence de ce qui lui est "ext?rieur": du sens contenu dans des ?nonc?s linguistiques. L'id?e de repr?sentation musicale est alors modifi?e dans la direction d'une r?concilliation possible de la raison (cart?sienne) et de l'imagination cr?atrice, du g?n?ral et du particulier, de la norme et de l'individualit?, dans la mesure o? le syst?me musical devenant analogue au syst?me linguistique, en tant que "langue en action" participe chaque fois dans l'?v?nement de sa propre cr?ation.
Alfred Schnittke: Künstlerische Identität oder (Post) moderne Mythologie?
Authors: Kostakeva Marija
Published: November 2009

(nemacki) Die grundlegende Frage der Identit?t auf allen Ebenen - nationaler religi?ser, sozialpolitischer, kultureller, existentieller Natur -, die das ganze Schaffen Schnittkes voraussetzt findet ihre Antwort in der von Schnittke entwickelten polystilistischen Methode. Nach dieser Methode gibt es zwei Arten der Beziehung zur Tradition: das Zitaten- und das Allusionsprinzip. Die Polystilistik wird zum Ausdruck Schnittkes k?nstlerischen Weltanschauung. Das zeigt sich in der inneren Programmatik seines Instrumentalschaffens, vor allem aber in der Dramaturgie seiner B?hnenwerke. Die Autorin nimmt als Beispiele daf?r die Oper Historia von D. Johann Fausten und Leben mit einem Idioten.
Magic numbers in the music of Sofia Gubaidulina
Authors: Tsenova Valeria
Published: November 2009

Sofia Gubaidulina's compositions are characterized by a special kind of symbolism and constructivism both based on numbers, i.e. mathematical proportions. In almost all her works so-called numerical plots can be detected. The proportions of the Fibonacci series provide a basis for many of her works composed since the beginning of the 1980s. In more recent times she used some rows derivating from the Fibonacci series, in particular the Lucas sequence.
Roland Barthes' "Text" and aleatoric music: Is "The birth of the reader" the birth of the listener?
Authors: Jeongwon Joe , Song Hoo
Published: November 2009

The history of Western classical music and the development of its notational system show that composers have tried to control more and more aspects of their compositions as precisely as possible. Total serialism represents the culmination of compositional control. Given this progressively increasing compositional control, the emergence of chance music, or aleatoric music, in the mid-twentieth century is a significantly interesting phenomenon. In aleatoric music, the composer deliberately incorporates elements of chance in the process of composition and/or in performance. Consequently, aleatoric works challenge the traditional notion of an art work as a closed entity fixed by its author. The philosophical root of aleatoric music can be traced to post structuralism, specifically its critique of the Enlightenment notion of the author as the creator of the meaning of his or her work. Roland Barthes' declaration of "the death of the author" epitomizes the Poststructuralists' position. Distinguishing "Text" from "Work," Barthes maintains that in a "Text," meanings are to be engendered not by the author but by the reader. Barthes conceives aleatoric music as an example of the "Text," which demands "the birth of the reader." This essay critically re-examines Barthes' notion of aleatoric music, focusing on the complicated status of the reader in music. The readers of a musical Text can be both performers and listeners. When Barthes' declaration of the birth of the reader is applied to the listener, it becomes problematic, since the listener, unlike the literary reader, does not have direct access to the "Text" but needs to be mediated by the performer. As Carl Dahlhaus has remarked, listeners cannot be exposed to other possible renditions that the performer could have chosen but did not choose, and in this respect, the supposed openness of an aleatoric piece is closed and fixed at the time of performance. In aleatoric music, it is not listeners but only performers who are promoted to the rank of co-author of the works. Finally, this essay explores the reason why Barthes turned to music for the purpose of illustrating his theory of text. What rhetorical role does music play in his articulation of "Work" and "Text"? Precisely because of music's "difference" as a performance art, music history provides the examples of the lowest and the highest moments in Barthes' theory of text, that is, those of Work and Text. If, for Barthes, the institutionalization of the professional performer in music history demonstrates the advent of Work better than literary examples, the performer's supposed dissolution in aleatoric music is more liberating than any literary moments of Text. This is because the figure of music - as performance art-provides Barthes with a reified and bodily "situated" model of the Subject.
The history of the three-part bagpipes in the light of migrations
Authors: Lajic-Mihajlovic Danka
Published: November 2009

Three-part bagpipes could be designated as multinational musical instruments since they are and were found in Serbia, Croatia, Hungary, Slovakia, the Ukraine and Romania. In order to determine the movement of their circulation in the past, it is important to investigate the influences that the different cultures had on one another. The central area of the vast territory where they were used coincides with the territory of Hungary when it was part of the Austrian Empire. From that fact it can be deduced that the presence of bagpipes as a common cultural element was the result of the influence of the Hungarian conquest. Another interpretation is based on data concerning Serbian migrations. The area where three-part bagpipes are spread significantly coincides with that of Serbian cultural influences. This finding is supported by linguistic research. The instrument related to bag-pipes, the double clarinet ("diple"), a traditional instrument of the Serbs, and the singing "on the bass" (a vocal counterpart of the harmonical structure of three-part bagpipes), mark the musical features that are characteristic only of Serbs and Croats, and are not found among other peoples that use three-part bagpipes. It is a delicate matter to differentiate the roles of those two peoples because of their common origins and centuries of close proximity on the territory that has recently gained the status of the republic of Croatia. However, on the basis of known data it seems that the key-role was played by Serbs. Such research is important for investigating typologies and stylistic stratigraphies of Serbian traditional music.
Italian musicians in Greece during the nineteenth century
Authors: Romanou Ekaterini
Published: November 2009

In Greece, the monophonic chant of the Orthodox church and its neumatic notation have been transmitted as a popular tradition up to the first decades of the 20th century. The transformation of Greek musical tradition to a Western type of urban culture and the introduction of harmony, staff notation and western instruments and performance practices in the country began in the 19th century. Italian musicians played a central role in that process. A large number of them lived and worked on the Ionian Islands. Those Italian musicians have left a considerable number of transcriptions and original compositions. Quite a different cultural background existed in Athens. Education was in most cases connected to the church - the institution that during the four centuries of Turkish occupation kept Greeks united and nationally conscious. The neumatic notation was used for all music sung by the people, music of both western and eastern origin. The assimilation of staff notation and harmony was accelerated in the last quarter of the 19th century. At the beginning of the 20th century in Athens a violent cultural clash was provoked by the reformers of music education all of them belonging to German culture. The clash ended with the displacement of the Italian and Greek musicians from the Ionian Islands working at the time in Athens, and the defamation of their fundamental work in music education.
Greek composers of the Ionian islands in Italian musical life during the 19th century
Authors: Vergadou-Mavroudaki Christina
Published: November 2009

During the 19th century most of the Ionian islands played a leading role in the Greek musical life. The vicinity of the islands with Italy combined with the Venetian domination were two facts that helped the creation of strong links between the Ionian islands' and the Italian cultures. The phenomenon of the visits of Greek composers to Italy during the 19th century in order to study at the principal conservatories of the country is one of the most interesting aspects of the history of Ionian music. The relations of individual composers with Italian composers, professors and music institutions are considered together with relevant aspects of Greek and Italian musical ties. The traveling of Greek composers to Italy for educative purposes is regarded not only as a historic phenomenon but also as a major step in their career. References are made regarding their contacts with distinguished Italian composers and intellectuals. Furthermore, the success of Greek composers in Italy is an undoubtful fact. A considerable part of Greek composers' musical works was performed and published in Italy. Facts indicating the success and the effect of Greek composers' work on the Italian musical life are given with references to primary music and literary sources.
The Russian musical emigration in Yugoslavia after 1917
Authors: Melita Milin
Published: November 2009

Around forty thousand Russian emigrants settled in Yugoslavia running away from the terror of the 1917 Revolution. A high percentage of them were writers, artists, musicians and ballet dancers. Their greatest contribution to Yugoslav musical culture consists in the important acceleration they brought to the development of the domestic scene. Especially valuable were the activities of opera singers and directors, ballet dancers and choreographers, scenery designers, conductors of church choirs and music pedagogues.
Die Anwesenheit des abwesenden schmerzlich zu machen…
Authors: Kostakeva Maria
Published: November 2009

(nemacki) Adriana H?lzskys B?hnenwerk Trag?die - unsichtbarer Raum (1997), das kennt keine Handlung, keinen Gesang unf keine B?hnenfiguren, kann als ein radikales Experiment, eine eigenartige Metaoper bezeichnet werden. Anstelle der echten Darsteller werden Klang-Figuren und -Requisiten, Gef?hle, Gesten und Geb?rde erzeugt. Das Vorhaben der Komponistin war "die Komplexit?t und Ausdruckskraft einer Oper ohne Semantik auszuprobieren". Das Werk erscheint als eine Totalit?t von heterogenen Schichten ab, in welcher Zeiten und R?ume, Reales und Phantastisches, Poetisches und Surrealistisches verschmelzen.
On the orthodox church melos: A contribution to the typology of church chant
Authors: Peno Vesna
Published: November 2009

Many unresolved questions related to post-Byzantine church chanting present obstacles to understanding some aspects of church music since the 19th century. One of those problems concerns the need for strict definitions of criteria according to which a church melody is classified as "melos" (Serb. napev). In this article the actual classifications of new Greek and Serbian chants are given. The most important Greek theoretical sources (theoretikon) are taken into consideration, as well as writings in which Serbian theoreticians and chanters explain the classification of hymns in Serbian church singing. The terminology related to "melos" in Greek and Serbian church chanting practice is critically examined. Attention is also drawn to elements common to new Greek (neumatic) and Serbian (staff notation) "melos". This article is an introduction to more detailed research whose aim will be to establish similarities and distinctions between the two church singing traditions that have the same origins in Byzantine church music.
Mozarts Gegenwärtigkeit in der zeitgenössischen Musik: Werken von F. Weiss, A. Schnittke, V. Dinescu, R. Vlad, A. Stroe, T. Olah, H.P. Türk und D. Dediu
Authors: Sandu-Dediu Valentina
Published: November 2009

(nemacki) Das Zitat aus Mozart oder die ?bernahme von mozartschen sch?pferischen Ideen in die gegenw?rtige Musik scheint - insbesondere in der rum?nischen Musik - eine oft verwendete kompositorische Technik zu sein. Beachtlich ist die stilistische Mannigfaltigkeit der analysierten Werke, vielleicht auch dank verschiedener Entstehungszeiten iM Laufe zweier Jahrzehnten haupts?chlich aber durch Individualisierung bestimmter Pers?nlichkeiten (Ferdinand Weiss, Alfred Schnittke, Violeta Dinescu, Roman Vlad, Aurel Stroe, Tiberiu Olah, Hans-Peter T?rk und Dan Dediu). Der Weg, der sich offenbart, reicht von der ludischen Collage bis zur Suggestion von symbolischen mozartschen Elementen.
The maiden and death: A comparative reading of the homonymous compositions of Nikos Skalkottas and Antiochos Evangelatos as narrations of Greek tradition
Authors: Siopsi Anastasia
Published: November 2009

Nikos Skalkottas?s (1904-1949) first ballet score, The Maiden and Death, was written in 1938. It is one of his most important tonal works, its plot being derived from a well-known folk-poem with the same title. Antiochos Evangelatos?s (1903-1981) homonymous symphonic ballad, written three years later, uses verses from the same folk-poem. The present comparative study attempts to analyze aesthetic aspects of these two works which are viewed moreover, as aesthetic entities in music history of a wider cultural background.
Musik als Sprache oder strukturalistisches denken in der Musik am Beispiel Pierre Boulez
Authors: Dobretsberger Barbara
Published: November 2009

(nemacki) Kaum ein anderer Begriff wurde iM Schrifttum ?ber die Musik der f?nfziger und sechziger Jahre derart strapaziert wie der Terminus Struktur. Struktur wurde zum Schl?sselwort iM Schreiben ?ber Musik. In geradezu prek?rem Kontrast zum herrschenden Konsens, dass Boulez? Werke strukturell besonders komplex gestaltet sind, wird der Versuch einer Definition oft schuldig geblieben. Auff?llig ist die Zur?ckhaltung, mit der Boulez? musikalisches Denken trotz eindeutiger Hinweise des Komponisten - mit dem Begriff des Strukturalismus in Zusammenhang gebracht wird. Boulez? eigene Ann?herung an den Begriff Struktur, die sich in mannigfaltigen Belichtungen durch sein gesamtes Schrifttum zieht, soll hier umrissen werden. Desgleichen wird das Thema Musik als Sprache, das Boulez gleichfalls vom Anbeginn seines Komponierens besch?ftigt, kurz angesprochen werden. Der Einfluss, den der aus der Linguistik kommende Strukturalismus auf Boulez? Werk und auf sein Denken hat, soll mittels genauerer Analyse der Schriften Boulez? nachvollziehbar werden.
Innere Emigration und Diktatur die getarnten Botschaften in den Opern der meister aus bojana von Konstantin Iliev und der gefesselte Prometeus von Lazar Nikolov
Authors: Kostakeva Maria
Published: November 2009

(nemacki) Die Frage der "inneren Emigration" in den ehemaligen kommunistischen L?ndern Europas wird an Beispielen zweier Opern der wichtigen bulgarischen Komponisten Konstantin Iliev und Lazar Nikolov untersucht. ?hnlich wie Paul Hindemith in Mathis der Maler, in Ilievs Meister aus Bojana (1962), kam die Inspiration von einer mittelalterlichen Legende her, und iM Mittelpunkt des Dramas steht das Problem der Freiheit der Sch?pfer unter der dogmatischen Gewalt. IM Gefesselten Prometeus (1972) von Nikolov ist die Hauptperson als Symbol des Protests gegen die Tyrannei und die Unterdr?ckung zu verstehen und so l?sst sich in allen Zeiten politisch interpretieren, umso mehr bei einem kommunistischen Regime.
Communion songs not regulated by the typicon in the recent tradition of Serbian church singing
Authors: Peno Vesna
Published: November 2009

In notated collections of Serbian church hymns from the 19th and 20th century there are, among others, communion songs with texts that were not regulated by the Typicon. These so-called "arbitrary communion songs" have been very popular in the recent tradition of Serbian church chanting. They have been gradually pushing out the hymns that are regulated for singing on concrete days and feasts during the church year. Analysis of possible influences that determined the way texts and the melodies delved into the recent Serbian church chanting follows two possible directions. The first commenced from late-Byzantine singing tradition; more specifically, from a group of songs that although based on liturgical texts, were performed in extra-liturgical occasions. These are calophonic irmoi which were composed by a great number of known late-Byzantine masters of singing. The second direction had its beginning in Russian spiritual music that generated a new melodic genre kant, based on western models. The majority of those compositions have freely written spiritual texts, too, and not part of the liturgy. Kanti were, namely, singing numbers in liturgical dramas - theatrical pieces with Christian historical themes. The majority of arbitrary communion hymns from Serbian collections have texts from the psalms or use texts for irmoi of specific canons. There is only one text that does not belong to the output of church hymnography. In spite of that, the melodies of the analyzed hymns reflect the presence of traditional compositional procedures characteristic of late-Byzantine and Serbian traditions. On either side, they possess atypical musical phrases that relate them to the the kanti. The usage of paraliturgical songs instead of communion hymns is commentated upon from the liturgic aspect also. That song belongs to the central part of the Liturgy and most fundamental during the service of the Orthodox church. Therefore the deviation in Serbian practice from the rules that define its place and role demonstrate the distancing from the tradition, raises a fundamental question: is liturgical meaning being compromised.
Musical instruments depicted in medieval Serbian art under oriental and western influences
Authors: Pejovic Roksanda
Published: November 2009

Researching musical instruments on frescoes, miniatures, icons and sculptural decorations of mediaeval Serbian art, painted and sculptured in the manner of Byzantine art, we discover Oriental and Western influences. Musical instruments arriving from the Orient were unchanged for centuries and those from West Europe were mainly used in the Middle Ages or the Renaissance. Oriental and Western influences can be observed on instruments of all families-idiophones, membranophones, bowed and string instruments, as well as on aero phones. The same form of some crotales and cymbals can be found both in Oriental and Western art, the majority of membranophones are of Oriental origin, but the tambourine on Bodani frescoes originated in West Europe. Lyres and angular harps are close to Antique tradition. Some bowed instruments, psalteries, lutes, harps, short horns, business and shawms have Oriental patterns and other instruments of these families accepted Western shapes. There are, as well, same kinds of bowed instruments and S-trumpets peculiar for both continents.
Evropa koja se menja - muzicka priblizavanja u odnosu napetosti izmedju Istoka i Zapada
Authors: Loos Helmut
Published: November 2009

(nemacki) Nicht nur die Kultur, mehr noch die Methoden der Geschichtsschreibung auf kulturellem Gebiet sind gepr?gt durch die Zeit des 19. Jahrhunderts, in der diese Disziplinen entstanden sind. Demgegen?ber sind in den letzten Jahrzehnten Forschungsans?tze entwickelt worden, die strukturgeschichtlich ausgerichtet sind und Kompositions-, Institutionen- und Ideengeschichte aufeinander zu beziehen suchen. Eine besondere Rolle kommt den sozialgeschichtlichen Ans?tzen zu, etwa im Sinne einer komparativistischen Sozialgeschichte. Regionale Aspekte r?cken damit st?rker in das allgemeine Interesse. Trotzdem ist noch h?ufig eine Dominanz nationaler Kategorien zu beobachten, was weder einem historischen Bewusstsein etwa f?r die Zeit des 18. Jahrhunderts und fr?her entspricht noch in der heutigen Zeit des sich vereinigenden Europas sachad?quat sein d?rfte.
Borders and bridges: Preliminary thoughts on Balkan music
Authors: Samson Jim
Published: November 2009

The author discusses methodological questions concerning his broad research project on music in the Balkans. He raises a number of questions related to defining national, cultural, and other identities in this region. The text is organized into four sections: 1. An ecumene, 2. Culture as appropriation 3. Centers and peripheries, and 4. Music gets its own back.
A song that will not die: Shifting symbolism in the interpretation of two sanguineous operas
Authors: van der
Published: November 2009

Bart?k's well-known opera Duke Bluebeard's Castle has an internationally hardly known parallel in Willem Pijper's opera Halewijn. The Hungarian and the Dutch opera share the same motives; they make use of a historical, a literary and a musical heritage, both from eastern and western Europe, in different ways yet with remarkable similarities. This article is an investigation into the backgrounds of the two operas and into the contexts in which their motives developed - and continue to develop.
Sounds of lament, melancholy and wilderness: The Zenithist revolt and music
Authors: Milin Melita
Published: November 2009

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 Micic 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 Micic 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 Micic 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 Micic. 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'esc (in German). Micic 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 Dobronic (a nationalist Croatian composer) was criticised on the basis that his music was not 'Balkanized' enough. Micic, 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.
Toru Takemitsu, novembr steps: Oppositions et complémentarités des traditions
Authors: Bosseur Jean-Yves
Published: November 2009

(francuski) Dans November Steps (1967) T. Takemitsu d?montre des compl?mentarit?s d'id?es de sources orientales et occidentales. Fond?e sur le principe de variations, l'?uvre fait des r?f?rences au m?me proc?d? dans une forme de musique japonaise du XVIIe s. (koto) et ? certaines oeuvres de Debussy (Pr?lude ? l'apr?s-midi d'un faune, Jeux). Les instruments traditionnels japonais (biwa et shakuhachi) sont confront?s ? ceux de provenance occidentale. Takemitsu cherche des points communs entre traditions occidentale et orientale, pas seulement des conflits.
Alexandre Damnianovitch: De l'orient à l'occident
Authors: Nicephor Sylvie
Published: November 2009

(francuski) Compositeur n? en Serbie et vivant en France depuis 1978, Alexandre Damnianovitch marque aujourd'hui la cr?ation contemporaine d'une empreinte tr?s personnelle. Son chemin, fait d'exigences, de remises en question d'ouvertures et de r?flexion, reste nourri par les apports conjugu?s des cultures orientales et occidentales. A travers l'examen de partitions r?centes, nous tenterons de d?gager ce qui caract?rise son style, mettant en exergue les ?l?ments qui l'ont plus ou moins influenc?, pour constater que sa trajectoire fran?aise l'a amen?, de fa?on plus ou moins directe, ? renouer avec ses racines serbes, et ? poursuivre une tradition nourrie par les apports d'une modernit? qu'Alexandre Damnianovitch a su assimiler sans dogmatisme aucun.
Neither East nor West, in between but not a bridge: A riddle for a new discipline, the ethnogeomusicology
Authors: Zemtsovsky Izaly
Published: November 2009

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.
Thomas Morley als musiktheoretiker
Authors: Popovic Tihomir
Published: November 2009

(nemacki) Der Komponist und Musiktheoretiker Thomas Morley hat in seiner Abhandlung "A Plaine and Easie Introduction into Practicall Musicke" (heraus-gegeben 1597 in London) die Kompositionslehre seiner Zeit auf verst?ndliche und anschauliche Weise dargestellt. Der vorliegende Beitrag untersucht sowohl den wissenschaftlichen als auch den didaktischen Wert dieses Traktats. Neben der Besprechung der allgemeinen Charakteristika der Abhandlung, wird im Beitrag auch Morleys Behandlung einzelner Themenbereiche untersucht, so u.a. auch die Klauseldisposition und die Frage, ob die Aussagen Morleys dar?ber als Wende vom modalen hin zum tonalen Denken interpretiert werden k?nnen: In diesem Kontext wird eine Antwort auf Martina Rebmanns Kritik an Carl Dahlhaus' Interpretation der Lehre Morleys gegeben.
Influences of ancient Greek spirit on music romanticism as exemplifies in Richard Wagner's Gesamtkunstwerk
Authors: Siopsi Anastasia
Published: November 2009

The romantics' ideal of the arts' collaboration (Mischgedichte) finds its most substantial equivalent in Richard Wagner's (1813-1883) "total work of art" (Gesamtkunstwerk). This theory for the restoration of the 'lost' unity of arts was elaborated in many theoretical essays of Wagner and 'applied' in his music dramas. Unity of arts, as well as unity of arts with nature existed according to Wagner in Ancient Greece while drama was the epitome of all expressive elements of nature. This "new art of the future", which Wagner envisaged, would restore the 'wholeness' of ancient Greek drama. It is the purpose, therefore, of this study to analyze mainly from an aesthetic point of view the influences of ancient Greek spirit on romantic thought, by focusing on Wagner's work.
Les poèmes ragusains de Dejan Despic
Authors: Stefanovic Ana
Published: November 2009

(francuski) Les ?uvres de Dejan Despic (1930), inspir?es par Dubrovnik: Jadranski soneti op. 17 (1951-1954), Dubrovacki divertimento op. 18 (1952) et Dubrovacki kanconijer op. 96 (1989), r?v?lent, outre leur th?me commun, une parent? suppl?mentaire importante. Elles sont incit?es et, d'une mani?re essentielle, m?diatis?es par la po?sie: soit par les vers de Jovan Ducic (1871-1943), po?te du Parnasse et symbolisme serbe, soit par la po?sie p?trarquiste ragusaine. Or, ces compositions ne se montrent pas seulement en tant qu` issues de l`inspiration par la po?sie sur Dubrovnik, mais aussi d'un conditionnement spirituel plus profond: de l`inspiration po?tique du compositeur lui-m?me par Dubrovnik. C`est le sentiment po?tique du monde, en tant que constante de la vision cr?atrice de Dejan Despic, qui provient de cette inspiration particuli?re. Ce monde ragusain du compositeur est le monde classique dans une signification universelle du concept, selon la nature m?me du milieu ?voqu?. Or, cela n implique pas une monochromie stylistique des compositions consid?r?es. Au contraire, les perspectives musicales de l`impressionnisme, du n?oclassicisme, voire, de la n?orennaissance, varient ce cadre stylistique g?n?ral, tout en marquant les traits distincts d'une po?tique de composition tr?s individualis?e.
Transcendence of avant-garde negativity as a determinant of the social position of European music in the 20th century
Authors: Veselinovic-Hofman Mirjana
Published: November 2009

Starting with Adorno?s negative dialectic and his consideration of musical material as the crucial theoretical notion that implies the negative dialectic core, we examine in this study the deconstructive potential of materialization of some musical antinomies of the 20th century. We follow this materialization from the aspect of transcendence of the antinomy considered as a certain musical ?unit? of negativity. This process is investigated here in reference to the concepts of musical material and the dual determination of music and musical-aesthetic experience, as well as to the musically concrete levels regarding musical substance and language of the avant-garde and post modernity, as representatives of a further possible antinomy: respectively, between the phenomenological and the hermeneutical. Functioning within all these levels individually, the process of transcendence brings about consequences which in our view can be considered as general criteria affecting the social position of European music of the 20th century.
The stages of modernism in Serbian music
Authors: Milin Melita
Published: November 2009

In order to consider this topic, it was first necessary to discuss certain problems of terminology and periodisation relating to musical modernism in general. It is already familiar the extent to which the terms "new music", "modernist", "contemporary" and "avant-garde" music have been used interchangeably, as synonyms. For this reason, it was first important to outline the period of musical modernism as almost generally accepted, which is regarded as an epoch comprising three different periods: (I) period of early modernism (1890?1918), announced by a break with later romanticism and a turn towards French Impressionism, Austro-German Expressionism and Russian "folkloric Expressionism"; (II) period of "classical modernism"(1919?1945) that witnessed a diffusion of neo-classicism and serialism; (III) period of "high modernism" (1946?1972) characterized by highly experimental compositional techniques such as integral serialism and aleatoricism. In relation to this, avant-garde movements are seen as radically innovative and subversive tendencies within this modernist epoch, and while certain postmodernist ideas can be recognized as early as the 1950s, postmodernism as a movement hadn?t gained its full potency until the 1970s. Since then, it has assumed different forms of existence as well as having assimilated a continued form of ?modernist project?. The second part of the article proposes a periodisation of Serbian musical modernism, which is divided into four stages. The first stage (1908?1945) was a period where elements of Impressionism and German expressionism were creatively introduced into the works of several leading composers (Petar Konjovic, Stevan Hristic, Miloje Milojevic, Josip Slavenski, Marko Tajcevic). The second stage (1929?1945) was marked by a group of composers who studied in Prague and assimilated certain progressive compositional techniques such as free tonality, atonality dodecaphony, microtonality and athematicism (Mihovil Logar, Predrag Milosevic, Dragutin Colic, Ljubica Maric, Vojislav Vuckovic, Milan Ristic). The third stage (1951?1970) followed immediately after the era of Socialist Realism, which involved the rediscovery of the pre- World War II Western modernism and prepared the ground for contemporary avant-garde developments almost non-existent before 1961 (Milan Ristic, Dusan Radic, Dejan Despic Vladan Radovanovic, Enriko Josif, Stanojlo Rajicic, Vasilije Mokranjac Aleksandar Obradovic, Ljubica Maric, Rajko Maksimovic). The fourth stage (1956?1980) was the period during which the post-World War II avant-garde developments found their home amongst Serbian composers, some of them conceived almost simultaneously with but independent of the current progressive development in the rest of the world (Vladan Radovanovic Aleksandar Obradovic, Petar Ozgijan, Petar Bergamo, Srdjan Hofman, the group Opus 4).
Between autonomy of music and the composer’s autonomy. Notes on modernisms and traditionalisms in Slovenian music of the 20th century
Authors: Stefanija Leon
Published: November 2009

The aim of this article is to examine the relations between the old and the new in the context of 20th-century Slovenian music. The question about the old and the new is seen not only as a question of different facets of an age-old opposition, but also as a complex issue of the epistemological contextualization of those different facets. Centered on the main historiographical entries ? the avant-garde, modernity, traditionalism, and post-modernity ?, the outline of the 20th-century Slovenian musical culture endeavors to point out what is a common problem of the Western musical heritage from the past century: the problem of defining constituents of the old and the new within different epistemological contexts.
Rumänische Komponisten zwischen den "gemäßigten", den "radikalen" Moderne und der Postmoderne
Authors: Sandu-Dediu Valentina
Published: November 2009

(nemacki) Debatten um die Begriffe Tradition, Moderne, Avantgarde und Postmoderne, wie sie in der europ?ischen Exegese erscheinen, sind im rum?nischen Raum nicht minder gegenw?rtig. Die gem??igte und die radikale Moderne sowie die Postmoderne werden in diesem Aufsatz auf ihre Verbindung zur Ideologie der rum?nischen Musik untersucht. Zum einen werden zwei Richtungen derselben Generation beleuchtet: die "Moderierten" (P. Bentoiu W.G. Berger) und die "Radikalen" (?t. Niculescu, A. Stroe, A. Vieru, T. Olah M. Marbe, D. Constantinescu). Zum anderen wird nachvollzogen, wie sich einige "Radikale" auf den "postmodernen" Weg begeben. Diese Kategorien sind selbstverst?ndlich vom ideologischen Kontext des kommunistischen Rum?nien gepr?gt.
Romanian experimental music between 1960-2000
Authors: Dediu Dan
Published: November 2009

This study has two parts: a general theory of experiment, and a descriptive part about Romanian experimental music in the second half of the 20th century. An experiment is an adventure and its nature depends on negation. Time is always the main enemy of an experiment, because in time the experiment transforms itself into tradition. So the concept has to be always redefined and interpreted in a fluid context. From this perspective our study researches experimental music in Romania between 1960-1996. Generations of composers are observed critically according to a chronological category: the decade. In that way one can see the flow and development, in time, of some important musical ideas in Romanian compositional thinking, like heterophony archetypal music, spectralism, events, and folklore.
Modern oder Postmodern? Traditionalismus, Avantgarde oder Postavangarde?
Authors: Kostakeva Maria
Published: November 2009

(nemacki) Mittelpunkt des Aufsatzes sind einige methodologische Probleme bei der Betrachtung der Kunst, bzw. Musik an der Schwelle der zwei Jahrhunderten. Anhang einiger Besonderheiten im Kompositionsverfahren von vier wichtigen Komponisten (Gy?rgy Ligeti, Alfred Schnittke, Helmut Lachenmann, Adriana H?lszky) und im Licht der f?hrenden Ideen der modernen Philosophie und ?sthetik wird versucht, die Idiomatik unserer Epoche unter Lupe zu stellen.
Different shapes of modernism/neoclassicism: Case study of Dusan Radic’s creative output
Authors: Mikic Vesna
Published: November 2009

This paper deals with musical neoclassicism in the context of modernism, and shows that some neoclassical features, usually considered to be reactionary and retrograde, could and should be understood as modernist. This kind of contextualization is especially important when Serbian postwar music is in question. Neoclassicism in Serbian music began in a specific ideological milieu. Paradoxically, and despite its "call for order" characteristics, it turned out to be a kind of modernistic phenomenon. On one hand it received all typical shapes of European modernism, while on the other it remains as a typical idiom of postwar Serbian musical production, blending in perfectly with the postmodern. These issues are argued and proved through analysis of some pieces written by Dusan Radic during the 1950?s. We see a kind of "disguised" modernism in the composer's subversion of the norms of national romanticism and socialist realism in the neoclassical choir piece Gungulice (1953), a modernism that is based on Freud's "reaction-formation" notion. Then, a more radical kind of modernism is followed in the piece The List for chamber ensemble (1952? 1954), arguing the notion of radical in the context of Serbian music, and coming to the conclusion that different interpretations of this piece as avant-garde, radical, or neoclassical/modernist can occur as a consequence of the listener's position. In the case of The Tower of Sculls we observe the same kind of "disguised" modernism, but now directly interwoven with proto-postmodern elements, coming from popular music practices, which is also the case in other pieces by Dusan Radic. The composer?s nonconformity, lack of pretentiousness, and inclination toward the simplicity of everyday things form his modernistic identity.
Antonín Dvořák and Richard Wagner
Authors: Gabrijelova Jarmila
Published: November 2009

The essay deals with the relation of prominent Czech composer Anton?n Dvo??k (1841?1904) to the personality and work of Richard Wagner (1813?1883). As opposed to the common opinions linking Dvo??k?s name with Wagner?s ideological opponents and placing his ?Wagnerian? period in the early phase of his career only, our examination shows that Dvo??k?s interest in Wagner and his music was of deep and lasting nature and was significant for him throughout the whole of his life.
Reflections on music and identity in Ethnomusicology
Authors: Rajs Timoti
Published: November 2009

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.
The ′ugliness′ of Jewish prayer: Voice quality as the expression of identity
Authors: Fridjesi Judit
Published: November 2009

This article is based on the musical material and interviews the author collected in Hungary, France, Czechoslovakia, the USA and Israel in the course of thirty years of her fieldwork among the traditional East-Ashkenazi Jews. It relates to the aesthetic concepts of the prayer chant of the Ashkenazi Jews of East Europe (?East -Ashkenazim?) as it appears to have existed before World War II, survived in the oral tradition until the 1970s and exists sporadically up to the present.
The ′Guslar′: Individual identity and tradition
Authors: Lajic-Mihajlovic Danka
Published: November 2009

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 Perovic, ?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 Perovic to develop an original performing style. By comparing the regional, Montenegrin style of gusle-playing (of which Perovic 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 Perovic 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 Perovic, secure the continuation of the tradition into the future.