CEEOL - Browse Subjects Result

We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.

Русский Дрезден 1920-1930-х годов: контуры музыкальной, церковной и общественной жизни

Author(s): Svetlana Georgievna Zvereva / Language(s): Serbian Issue: 30/2021

This article addresses the theme of Russian music in the German city of Dresden as it initially related to the virtuosi who had arrived from Russia. After the Revolution of 1917, the roles of Russian émigrés, such as Issay Dobrowen, Sergei Rachmaninov, Sergei Jaroff with his Don Cossack Choir, Maria ChebotaryovaVyrubova and others, grew in significance. On the strength of Russian émigré newspapers, archival documents, reference and research literature, individual events involving Russian music in this city during the inter-war years have been re-created and placed in a broad socio-cultural context.

More...

Ivana Medić - Teorija i praksa Gesamtkunstwerka u XX i XXI veku: Operski ciklus SVETLOST / LICHT Karlhajnca Štokhauzena

Author(s): Melita Milin / Language(s): Serbian Issue: 29/2020

Review of: Ivana Medić Teorija i praksa Gesamtkunstwerka u XX i XXI veku: Operski ciklus SVETLOST / LICHT Karlhajnca Štokhauzena. Beograd: Muzikološki institut SANU, 2019. ISBN 978-86-80639-33-8.

More...

Службы русским и сербским святым в контексте годового круга церковного пения XVI–XVII веков

Author(s): Natal´ia Vasil´evna Ramazanova / Language(s): Russian Issue: 28/2020

The article examines the services of Russian and Serbian saints in the context of the General artistic space of Russia during the period when it remained the only Orthodox state. А significant number of services to the Roman, Byzantine, Russian and Slavic Saints written in the most complete Sticherarions with the subtitle “D’iach’ie oko”, at that сhants to Russian and Serbian saints, were created in Russia. Composers based on Byzantine canons, including the structure of services, sequence of chants, orientation to common models. One-type artistic techniques are used in worship services. However, chants differed significantly, as the singers creatively treated poetic texts using different musical methods.

More...

Vlach Vocal Traditional Music in the Region of Homolje from the Legacy of Olivera Mladenović

Author(s): Maja Radivojević / Language(s): English Issue: 28/2020

Olivera Mladenović researched Vlach culture in the 1980s. Recordings preserved in the archive of the Institute of Ethnography SASA also contain examples of vocal practice of the Vlachs from Homolje region (Northeast Serbia). The material was recorded on six audio cassettes, which were later digitized. As ethnomusicological studies of this area are very scarce, the recorded material certainly represents a valuable testimony to the musical culture of the Vlach ethnic community. The aim of this article is to determine the particularities of the recorded examples, based on ethnomusicological analysis and transcription, as well as to isolate the vocal genres found on these audio cassettes. Vocal examples from the recordings of Olivera Mladenović will be paired with existing examples from the literature, as well as examples of current practice recorded by the author of this article. In this way, at least a partial picture of the Vlachs’ musical life in Homolје from the 1980s to the present day will be established, and the comparison will allow us to observe continuity and change.

More...

Ивана Весић - Конструисање српске музичке традиције у периоду између два светска рата

Author(s): Vesna Sara Peno / Language(s): Serbian Issue: 28/2020

Review of: Ивана Весић Конструисање српске музичке традиције у периоду између два светска рата. Београд: Музиколошки институт САНУ, 2018. ISBN 978-86-80639-36-9.

More...

Косово и Метохија: Музичка слика мултикултуралности 50-их и 60-их година XX века /

Author(s): Mirjana Zakić / Language(s): Serbian Issue: 28/2020

Review of: Косово и Метохија: Музичка слика мултикултуралности 50-их и 60-их година XX века /Kosovo and Metohija: а Musical Image of Multiculturalismin the 1950s and 1960s. Уреднице: др Данка Лајић Михајловић и др Јелена Јовановић, дописни члан САНУ / Editors: Danka Lajić Mihajlović, PhD and Jelena Jovanović, PhD, corresponding member of SASA Београд: Музиколошки институт САНУ / Belgrade: Institute of Musicology SASA, 2018. Едиција „Звучна ризница“ / Edition “Sound Treasury”.

More...

The transmission ofmotets within the Pastonmanuscripts, c.1610

Author(s): Francis Knights / Language(s): English Issue: 27/2019

The creation and expansion of commercial music printing from around 1500 has normally led to modern editors assigning textual primacy to published copies of music from the period in preference to any equivalent manuscript copies. However, some groups of manuscript sources, such as the Paston collection, from late 16th and early 17th century England, can shed a dif erent light on contemporary music print culture and its relationship to manuscript copying. Edward Paston’s huge private music library, now dispersed in collections in the UK and US, contains many multiple versions of works he already access to in print form, and the choices he or his copyists made with regard to three particular six-voice Latin motets, Byrd’s Memento homo, Ferrabosco’s In monte Oliveti, and Vaet’s Salve Regina, are examined here, and placed within with their collecting context and likely use.

More...

Весна Карин - Плесна пракса Динараца у Војводини

Author(s): Svetlana Đačanin / Language(s): Serbian Issue: 27/2019

Review of: Весна Карин - Плесна пракса Динараца у Војводини. Нови Сад: Академија уметности, 2018. ISBN 978-86-88191-74-6.

More...

Music Hall: Regulations and Behaviour in a British Cultural Institution

Author(s): Derek Scott / Language(s): English Issue: 26/2019

The music hall in late nineteenth-century Britain offers an example of a cultural institution in which legal measures, in-house regulations, and unscripted codes of behaviour all come into play. At times, the performers or audience were under coercion to act in a certain way, but at other times constraints on behaviour were more indirect, because the music hall created common understanding of what was acceptable or respectable. There is, however, a further complication to consider: sometimes insider notions of what is normative or appropriate come into conflict with outsider concerns about music-hall behaviour. These various pressures are examined in the context of rowdiness, drunkenness, obscenity, and prostitution, and conflicts that result when internal institutional notions of what is normative or appropriate come into conflict with external social anxieties.

More...

Theories on Socialist Realism and Socialist Music Culture in the 1960s in Hungary

Author(s): András Ránki / Language(s): English Issue: 26/2019

In the 1960s, the quantity of publications on aesthetics of music significantly increased in Hungary. The variability of the subjects, the approaches and the opinions are result of an explicit ideological reordering based on the consequently articulated politics of anti-Stalinism. By the mid-sixties the economic founding and sustainability of socialism and its optimized operation became the crucial problem for the power, hence the importance of natural and social sciences increased in the public discourses. The arts were no longer treated as mere illustrations of the political power and its intentions. I focus on the main contributions to aesthetics of music of the so-called creative Marxism written by three internationally acknowledged Hungarian scholars of this period: József Ujfalussy, Dénes Zoltai and János Maróthy. Selected texts are analized from theoretical points of view and interpreted in the context of the Hungarian cultural policy and the national and international career of their authors as well.

More...

Маријана Кокановић Марковић - Друштвена улога салонске музике у животу и систему вредности српског грађанства у XIX веку

Author(s): Nataša Marjanović / Language(s): Serbian Issue: 26/2019

Review of: Маријана Кокановић Марковић - Друштвена улога салонске музике у животу и систему вредности српског грађанства у XIX веку. Београд, Музиколошки институт САНУ, 2014. ISBN 978-86-80639-20-8.

More...

Universal Organising Principles of Music and Fairy Tales

Author(s): Nada Ivanović O’Brien / Language(s): English Issue: 25/2018

This article’s focus is the universal organising principles underlying the energy transformation process in music and fairy tales. Taking into account relevant research in Jungian analytical psychology and music analysis, a comparative study of energy transformation processes in fairy tales and music is given. This yields an outline for a potential new meta-analysis of music introducing the symbolic and psychoid nature of music and its relevance for psychological development.

More...

Статус оперског уметника у Народном позоришту у Београду од 1970. до 1980. године

Author(s): Vanja Spasić / Language(s): Serbian Issue: 24/2018

This article deals with the status of the opera artist in the National Theatre in Belgrade in the 1970s. The status of an opera artist is analysed from two, relatively independent standpoints. Te frst level includes the artist’s position as an employed person in the institution, and the other - his social position at the fnal stage of the self-management socialism, which was the ideological and organisational framework of the Yugoslav cultural policy in the aforementioned period. Te main idea of this article is to utilize the approaches of various sciences - sociology of art, cultural policy, musicology - in order to investigate those aspects that determine the status of artists. Te initial research question was concerned with discovering how the status of opera artists in the Teatre was determined. The answer to this question required an insight into artistic work within the Teatre, which was reconstructed on the basis of the available archival material, as well as the artists’ positioning in society, which was achieved by looking at the discourses about an artist from the eighth decade of the 20th century. Te fundamental literature for this article was Te White Book (Bela knjiga), which was issued in 1970 according to the decision of the Art Council of the National Teatre (Opera and Ballet); its purpose was to defne the need for reform at the Opera and Ballet. Te goal of this article is to point to diferent interpretations of the status of the artist in the observed period of self-management in the feld of culture.

More...

Трагом записа Теофилакта Симокате

Author(s): Đorđe Đekić,Miloš Pavlović / Language(s): Serbian Issue: 24/2018

The earliest record that testifes to the South Slavic music is the one lef by the Byzantine chronicler Teophylact Simocata in his History. It is said that in 592, the emperor Maurice captured three Slavic men near Enaton, who did not have any weapons on them, but had only musical instruments, most probably lyres. Some written sources also mention the horns. Implementing the knowledge obtained through etymological analyses and the extant ethnological practice, as well as archaeological artefacts, it may be said that the Slavs of the said period used jingle bells, futes and bagpipes. Te music, both instrumental and vocal, was common to religious as well as entertainment purposes.

More...

Glazbene migracije u rano moderno doba: ljudi, tržišta, obrasciistilovi

Author(s): Marijana Kokanović Marković / Language(s): Serbian Issue: 24/2018

Review of: Vjera Katalinić (ed.) Music Migrationsin the Early Modern Age: People, Markets, Paterns and Styles / Glazbenemigracije u rano moderno doba: ljudi, tržišta, obrasciistilovi Muzikološki zbornici br. 18, Hrvatsko muzikološko društvo, Zagreb, 2016. ISBN 978-953-6090-55-6.

More...

After Zero Hour: States as “Custodians of Universal Human Culture,” or “Guardians of Advanced Art”

Author(s): Melita Milin / Language(s): English Issue: 23/2017

The emergence of radically new, avant-garde movements in German music and throughout Western Europe after WW2 has often been seen as expressing a strivings to create on a tabula rasa, in order to create distance from the horrors of the recent past. In the countries of the communist bloc, the imposed ideology of socialist realism also created a sharp break, similar to that in the West, except that Zero Hour was conceived in quite a diferent fashion, as a move in the opposite direction from Western modernism. Te case of post-war music in Yugoslavia is examined under the light of the fact that the country did not belong to either bloc.

More...

The Early Prague Spring: Analysing the Re-Establishment of Modernist Aspects According to the Example of Three Piano Concertos by the “Prague Group” of Composers

Author(s): Marija Golubović,Nikola Komatović / Language(s): English Issue: 23/2017

The interwar period brought about a number of modernist tendencies in the heterogeneous cultural context of the Kingdom of Yugoslavia, which is particularly salient in the works of the young composers belonging to the so-called “Prague group.” Having completed their studies, dozens of composers and conductors, including Ljubica Marić (1909–2003), Stanojlo Rajičić (1910–2000) and Milan Ristić (1908–1982) contributed to the establishment of the new movement in the conservative milieu of interwar Belgrade. Afer World War II, socialist realism became, in efect, the only approved style for the artists of the period. However, only a decade afer the Tito–Stalin split, modernist tendencies reappeared fullblown in the output of Yugoslav composers. It is therefore of the greatest interest to analyse and present the way in which modernist music managed to fnd its way back to Yugoslav composers, performers and audiences in such a short period of time (the 1950s). To do so, we have chosen three piano concertos, writen at the very beginning, in the middle, and at the very end of this period. Tis overview would not have been possible if we had analysed works belonging to other genres, as most had already been established in the pre-war period. However, it is also safe to conclude that the limitations on the Yugoslav scene were not imposed only by political authorities, but also by the conservative tastes of its audience and society, which were already in place before WWII.

More...

Reflections On a ‘Shop’ Melodic Model in Wedding and St George’s Day Songs from Eastern and Central Serbia

Author(s): Jelena Jovanović / Language(s): English Issue: 23/2017

This article examines a melodic model that characterizes Serbian ‘Shop’ musical idiom both in eastern and central Serbia, where it was disseminated through migrations from the ‘Shop’ cultural region to the west and northwest. In some of the ‘Shop’ areas and in neighbouring regions in East Serbia, as well as in more remote central Serbia, examples of this model are consistent in their main characteristics, while in more remote areas in central Serbia these characteristics appear in various forms of the model. Te goal of this paper is to contribute to knowledge of the distribution of elements of ‘Shop’ musical culture in eastern and central Serbian areas.

More...

From Pain to Pleasure: The Troping of Elegy in the Renaissance Italian Madrigal

Author(s): Milena Medić / Language(s): English Issue: 22/2017

In the Renaissance period, melancholia emerged as a dramatic cultural phenomenon among the intellectual and artistic elites, with a locus in elegy it gave form to the Renaissance poetics of loss, pain and shedding of tears, expressing essentially the fantasy about death as a prerequisite for revival. Te possibilities of confronting the threats of death were being found in its very nature whose inherent ambiguity was determined by the principles of Tanatos and Eros. Te creative act of the troping of elegy proved to be an efective literary and musical strategy for the transcendence of death including the procedures of homeopathization, pastoralization, heroization and erotization of elegy. Te elegiac tropic transcendence of death found its most complex expression in the madrigal which in turn added to its basic polyphonic procedure the opposing stylistic elements of the pastoral genres (canzonetas and villanellas) or heroic solo or choral recitations and it consequently acquired a hybrid form in the last decades of the 16th century, and thereby proved to be a cultural trope itself. Te aim of this article is to examine the musical implications of the tropic strategies of facing death within Francesco Petrarch’s, Torquato Tasso’s, and Batista Gurini’s poetic models of the art of loving death, using the remarkable examples of the Italian madrigal practice of the late Renaissance.

More...

Лиз Мелиш (Liz Mellish), Ник Грин (Nick Green) и Мирјана Закић, Music and dance in Southeastern Europe: New scopes of research and action

Author(s): Danka Lajić Mihajlović / Language(s): Serbian Issue: 22/2017

Review of: Лиз Мелиш (Liz Mellish), Ник Грин (Nick Green) и Мирјана Закић, Music and dance in Southeastern Europe: New scopes of research and action. Факултет музичке уметности, Београд 2016. (ISBN: 978-86-88619-71-4).

More...