Проучавање српске музике између два светска рата: од теоријско-методолошког плурализма до интегралне музичке историје
Studying Serbian Music between the Two World Wars: From Theoretical Methodological Pluralism to Integral Music History

Summary/Abstract: This study deals with problems of an integral perception of Serbian music between the two Worl Wars across synchronic and diachronic levels, aiming to begin the resolution of the following question: What kind of musical history of that period, based on modern scientific principles, is needed and possible today?A part of this work is dedicated to theoretical-methodological aspects, and pri¬ority has been given to contextual studies. Many modem scientific approaches, based on various studies of the relationship between artistic text and context, stand as possible keys to rcsarching the Serbian music of the period. Certain views held by the historians and theoreticians of modern Serbian literature, who dealt with the “historicism crisis" and came to very stimulating conclusions in resolving similar musicological questions, have also been pointed out.Contextual complexity, along with historical, formal-stylistic and aesthetic di¬mensions. including cultural-anthropological aspects of artistic creation in an epoch’s culture, can bring about the consciousness of the totality of the musical-historical proc¬esses. There is an opinion that there is no omni-valid musical history. Each era and each culture writes its own history according to its own historical and cultural consciousness criteria. The history has to be open to different approaches and methodological proce¬dures so that a modern model, including historical and theoretical-aesthetic and compara¬tive studies, can be reached.A greater part of this work is dedicated to concrete suggestions and steps in in¬tegral perception of Serbian inter-war music: from a contemporary comparative approach to interdisciplinary' aspects (Serbian music in a national art context and Serbian music in an international music context), to a basis for a typology of Serbian inter-war musical opus. It has been emphasized that national and international phenomena correlate. Their mutual coordination can be achieved by establishing common study criteria. Existing analysis of modernistic epoch cultural dynamism has been chosen as a starling point in that direction. (Milan Radulović, Modernism and Serbian Idealistic Philosophy, Bel¬grade, 1989).One part of this text is dedicated to systematization of Serbian inter-war musical opus according to basic cultural models existing almost in parallel in Serbia at the begin¬ning of the 20"’ century. It has been concluded that the dominant model was the one rep¬resented by a modern bourgeois culture. From this model, as a center of modernization, two synchronous paths can be seen One led ahead, marked with avant-garde cultural concepts not entirely successfully realized. Actually, this presented the final point of Ser¬bian musical modernization. Along with it. there also were indications of a proletarian cultural program the expansion of which came immediately after the Second World War.A path backwards showed that inherited forms of patriarchal and rationalistic bourgeois culture were still present. But during the modernization, these forms experi¬enced manifold transformations. The proposed systematization can serve as a starting for a more detailed classification of every basic cultural model variation. In that context, according to the analysis of cultural dynamism in music, a plan for systematiza¬tion of different types, defined in a range between high music an and mass musical cul¬ture. has also been given.In this text, numerous questions, unavoidable in this musical epoch, have been indicated. It has also been suggested to mark 1906-1908 as the point at which the mod¬ernization processes in Serbian music began. It has also been suggested to chose, among many names that could mark Serbian intcr-war music and its time, one involving the term modernization such as Modernism or Modema.

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