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The article is a comprehensive review of the CD of a famous Croatian musician Goran Bregovich. While analysing his creative work the author draws analogies between musical motives of G. Bregovich and the phenomena of Ukrainian musical culture. The reviewer demonstrates his knowledge telling about creative plans of Goran Bregovich in a different image - the image of a creator of religious music.
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The vulgarization of tradition in this paper implies the alteration, false representation, and adaptation of tradition in line with the interests of certain individuals or groups in power. The author observes popular music in Serbia (jazz, pop, rock) under a sociological magnifying glass, attempting to explain and motivate the thesis which proposes a valid historical foundation of popular culture and music in the social life of Serbia. In his opinion, this kind of tradition is being “swept under the rug”, while the entire musical tradition of Serbia is unjustifiably placed exclusively within the area of folk music - original and newly-composed. The paper deals with the “temptations” that our musical tradition faces and points to the differences between the notions of national and cultural tradition. The author conducts a comparative analysis of jazz, rock, and pop in Serbia, on the one hand, and newly-composed folk music and turbo-folk, on the other. Apart from folk music, that which is called popular music is also considered traditional in Serbia, since it has been practiced actively in this region for a number of decades now. Popular music, above all jazz and rock ‘n’ roll, is a genuine link with the modern world musical trends and fits perfectly into the concept of Europeanization of Serbian society.
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This text is about multiculturality/interculturality from an interdisciplinary perspective that implies introduction of theory of film and film music into this scientific discourse and demonstrates the way in which film system operates as representation field of the mentioned concepts/notions. In the context of domination of visual culture, turning to auditive space and proving that it can be as successful, and even more refined in revealing the ways in which social systems function; poses as a challenge. In that way, the starting point of this paper was the opus of one of the most prominent and most prolific serbian film music composers, Zoran Simjanovic, and the creative work he has produced in cooperation with leading serbian/yugoslav directors: Srdjan Karanovic (Something in-between, The Scent of Wild Flowers, Loving Glances), Goran Markovic (Tito and me), Zivko Nikolic (The Beauty of Sin) and Branko Baletic (Balkan-Express 1).
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The paper follows the problem of a possible realisation of the concept of multiculturalism and interculturalism on the example of two scientific schools in young Byzantine musicology: “Eastern - Greek” and “Western” with the centre in Copenhagen. Although in a different manner, and in accordance with main directions and settings, it can be stated that both of them were ideologically oriented. The case of Greek scholars can be characterised as not coming to terms with the fact that intercultural relationships had been and still were fostered in their immediate geographic and cultural surroundings, while the Western scholars erred mostly because of the pretentiousness which reflected in their attempts to consider and judge the Orthodox musical and church tradition in an ex cathedra manner, without truly “immersing” themselves into it.
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This paper analyses the famous folk song from the South of Serbia Zbog tebe mome ubava using the methodological apparatus of the Conceptual Blending/Integration Theory. The aim of such an analysis is twofold: on the one hand, we wish to consider the range of this highly influential theory in cognitive sciences and test the limits of its application on the authentic musical material from the territory of Southern Serbia; and on the other, we examine how relevant the construct of conceptual blending is for the phenomenon of the “music on the border”, where influences of several regions and cultures combine on various levels of musical structure. Our attention in this paper is drawn towards examples of conceptual blending at the metric, harmonic, and textual level. The conclusion is that the Conceptual Integration Theory can primarily offer an explanation of the semiotic phenomena that emerge during the process of listening to the music from this part of the world.
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Based on the fact that cultural and musical history of Serbia is closely related with cultural and musical history of the region, the paper examines the way in which multiculturalism, as one of the inevitably features that indicate the geographical and geopolitical determinants of the Balkan and the Mediterranean regions, manifested in Serbian art music and what the significance of this social phenomenon may have for actual cultural connections in the region.
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The published new, solid scholarly monograph markedly complements the research on the creative work of the Lithuanian artist of genius. The author of the monograph – Assoc. Prof. Dr Rimantas Janeliauskas of Lithuanian Academy of Music and Theatre – regularly contributed his articles to various scholarly musicological publications. His hard toil has yielded fruit.
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Starting with March 2008, we launched the release of a new series of musicology magazines under the name of “Studia Universitatis Babeş-Bolyai”, with the title of “Musica”. In 2010, after three years of being published, we can announce that CNCSIS graded the magazine as a B+ category, and in december 2012 the CNCS B category.
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A strong correlation exists between the notions of old and new. The novelty of music, which had previously been considered a natural condition, turned into an artistic requirement at the beginning of the 19th century, when the horizon of an historical approach to music appeared. The concept of Old Music, however, is not a chronological one: instead of indicating the endeavour to find a repertoire not yet known, in the second half of the 20th century it rather signified a re-interpretation of pieces of music already canonized. While Old Music presupposes an end of an earlier musical tradition, New Music does not imply a break with older traditions but it refers to drawing the final conclusions of the modern European musical tradition, which began in the 17th century.
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Synesthesia is a syndrome or better said a psychological state that became manifest in music, art and literature. Mainly in the 20th century it takes a different shape as a result of scientific progress and especially of the effects it has generated. Synesthesia in music is recognized due to the effects created by Alexander Scriabin in Prometheus – The Poem of Fire as well as ”the painting” on the score of Hartmann’s pictures in his famous work Pictures at an Exhibition by Modest Mussorgsky. At the opposite pole we come across synesthetic episodes in pop-rock music or in disco dance music. The Avant-garde is a decisive factor of synesthetic development due to the synergy between music and visual art. The appearance and diversification of synesthesia creates new effects that influence all the people who interact with music and colours directly or indirectly.
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