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Транспозиции на пасторалното в Бел епок

Author(s): Diyana Nikolova / Language(s): Bulgarian Issue: 2/2016

The text offers a reading of sociocultural and literary phenomena, unfolding in the French Belle Époque, based on the uses of the bucolic code and the transcriptions of the pastoral. I analyze the production of new bucolic loci, as well as the multiplicity of their meanings / significations that shape through their deployment in the registers of high and popular culture alike and in the phenomena generated by the interaction between them.

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“Music, much as people take snapshots during vacation”: An Outline of Mimetic Prospects in Musical Modernism

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“Music, much as people take snapshots during vacation”: An Outline of Mimetic Prospects in Musical Modernism

Author(s): Andraž Jež / Language(s): English Issue: 2/2022

It has often been said that after 1900 formal modernism diminished the role of the mimetic (i.e., imitation or representation) in all arts. This article opposes such a general conclusion. Formal modernism in art did not represent any general relationship to the mimetic; rather, it questioned the traditional relationship to forms of representation within each particular art form. Although a traditional notion of mimesis indeed makes it possible to see a good deal of literature and the visual arts as less mimetic after 1900, twentieth-century music discovered unprecedented representational possibilities, which are illustrated with the case of musique concrète. In the last section, the article reflects on its thesis with a comparative perspective on the postmodernist turn in various arts.

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Popular Music: The Lyrics Strike Back

Author(s): Kalina Zahova / Language(s): English Issue: 2/2022

Popular song lyrics are a very important object of study, although they are sometimes not appreciated properly. The last third of the twentieth century saw popular song receding from its lyrics by the image, namely the video – the image-based legislator of popular music for a few decades. However, the lyrics have found their way to strike back, and this article outlines some manifestations of their importance in contemporary culture(s). With the rise of lyric videos, popular music made a turn toward the interpretative challenges of written poetry because watching such videos involves a process of reading while listening. Further literaturization of popular music comes from the transformation of song lyrics into books – under certain conditions, reading the lyrics as written poems includes hearing them internally as songs.

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Preserving and Dissemination of Digitised Sound Heritage in Contemporary Times: The Potential of Blockchain Technology

Author(s): Dragana Stojanović / Language(s): English Issue: 33/2022

Following recent technological changes, the archival profession will reach the moment of surpassing previously dominant mediaspheres, in which sounds and images were stored in traditionally located archives. This is not to say that traditional archives are not needed anymore – on the contrary. In this article, I will try to bring out the possibilities of upgrading traditional archives with the help of blockchain technology and to analyse the complex navigation between online market and commodification in the world of contemporary ethnomusicological contribution to sound heritage archiving.

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О значењу кордофоних музичких инструмената у сценама Ругања Христу у српској средњовековној уметности

Author(s): Anđela Gavrilović / Language(s): Serbian Issue: 33/2022

This article examines the sacral meaning of the chordophone musical instruments in the scenes of the Mocking of Christ in Serbian medieval art (1166– 1459), preserved only in two monumental ensembles – in the church of Christ Pantokrator in Dečani Monastery (1338–1339) and in the church of the Holy Archangels Gabriel and Michael in Lesnovo (1346–1347). The instruments in question are one cithara (Byzantine lyre) and one psaltery. Selected examples of the comparative material, as well as the written sources, prove that these musical instruments symbolically point to Christ’s suffering.

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Селена Ракочевић

Author(s): Selena Rakočević / Language(s): Serbian Issue: 33/2022

In memoriam: Selena Rakočević (Belgrade, October 26, 1971 – Belgrade, May 18, 2022).

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Vladimir R. Đorđević’s Contribution to the Transcription of Vocal Practices

Author(s): Sanja Ranković / Language(s): English Issue: 29/2020

Serbian musicians who were collecting different forms of traditional music at the end of the 19th and the beginning of the 20th century were unable to make audio recordings of the collected material. This conditioned the need to transcribe folk melodies “by ear” during the very process of interviewing their interlocutors or later – from memory. Methodology of transformation of sound into an adequate graphic transcription was especially promoted by Vladimir Đorđević who, in comparison to his predecessors, introduced numerous novelties. This article discusses his approach to the transcription of vocal practices as applied in two large collections: Serbian Folk Melodies (Southern Serbia) and Serbian Folk Melodies (Pre-war Serbia). The fundaments of his work are observed through the analysis of the manner in which Đorđević transcribed meta-data, as well as from poetic and music texts.

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“Perverting the Taste of the People”: Lăutari and the Balkan Question in Romania

Author(s): Roderick Charles Lawford / Language(s): English Issue: 29/2020

“’Perverting the Taste of the People’: Lăutari and the Balkan Question in Romania” considers the term “Balkan” in the context of Romanian Romani music-making. The expression can be used pejoratively to describe something “barbaric” or fractured. In the “world music” era, “gypsy-inspired” music from the Balkans has become highly regarded. From this perspective “Balkan” is seen as something desirable. The article uses the case of the Romanian “gypsy” band Taraf de Haïdouks in illustration. Romania’s cultural and physical position within Europe can be difficult to locate, a discourse reflected in Romanian society itself, where many reject the description of Romania as a “Balkan” country. This conflict has been contested through manele, a Romanian popular musical genre. In contrast, manele is seen by its detractors as too “eastern” in character, an unwelcome reminder of earlier Balkan and Ottoman influences on Romanian culture.

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Весна Сара Пено - Књига из које се поје. Појачки зборници у византијском и српском рукописном наслеђу

Author(s): Tatjana Subotin-Golubović / Language(s): Serbian Issue: 29/2020

Review of: Весна Сара Пено Књига из које се поје. Појачки зборници у византијском и српском рукописном наслеђу. Београд: Музиколошки институт САНУ, 2019. ISBN 978-86-80639-49-9.

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Наташа Марјановић - Музика у животу Срба у 19. веку. Из мемоарске ризнице

Author(s): Marijana Kokanović Marković / Language(s): Serbian Issue: 29/2020

Review of: Наташа Марјановић Музика у животу Срба у 19. веку. Из мемоарске ризнице. Нови Сад – Београд: Матица српска – Музиколошки институт САНУ, 2019. ISBN 978-86-7946-275-6.

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Руски триодни стихирар с краја XII века – рукопис Хиландар 307

Author(s): Tatjana Subotin-Golubović / Language(s): Serbian Issue: 28/2020

MS Hilandar 307, a triodion sticherarion from the late 12th century, is one of the oldest Slavonic manuscripts kept at Hilandar. The manuscript has not survived in its entirety – it is missing the first part which contained stichera of the Lenten cycle; the extant part contains the pentecostarion cycle of stichera. It was written in the Russian recension. The manuscript has probably been kept at the monastery ever since its establishment and could have been even procured by St. Sava at the time of the formation of the monastery library. Its presence at the Serbian monastery confirms that there were no linguistic or practical liturgical obstacles to its use in religious services. Since the Serbian manuscript heritage does not include surviving sticheraria as a type of liturgical book, its content is highly interesting. This paper explores the interrelationship between the sticherarion and corresponding services in the oldest Serbian triodion, copied in the first half of the 13th century and now kept in the National Library of Russia in Saint Petersburg (F. п. I. 68). Two services were selected as examples – the service for the Mid-Pentecost (Midfeast) and the service to the Holy Fathers of the First Ecumenical Council. An initial careful comparison already revealed the appearance of different translations of the texts shared by both manuscripts. Also, it was found that only a part of stichera in the sticherarion appear in full triodion services, in which stichera make up just one segment of the service as a complex hymnographic ensemble.

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Песнопения в честь великомученика князя Лазаря Сербского в древнерусских нотированных рукописях

Author(s): Natalʹia Viktorovna Mosiagina / Language(s): Russian Issue: 28/2020

The manuscript containing the service of St. Lazar Hrebeljanović was presented to the Russian Tsar in 1550 by the abbot of the Hilandar monastery Paisius. We currently know only two manuscripts containing hymns to the Saint Lazar: RNB, Kir.-Bel. 586/843 (eighth decade of the 16th century) and RBB, f. 379 № 66 (mid17th century). The older source is more complete. It includes stichera of Small and Great Vespers (on Lord I have cried and aposticha), stichera at the Litya, stichera at the end of Psalm 50, aposticha of Matins, as well as exapostilarion and theotokion. In addition, there are indications that two canons have been performed (a total of 31 hymns). In the younger source the chanting repertoire is much smaller - there are only doxastika and , stichera at the end of Psalm 50 (a total of 6 songs). The doxastika presented in these manuscripts have different musical variants.

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William Byrd and the Limits of Formal Music Analysis

Author(s): Žarko Cvejić / Language(s): English Issue: 28/2020

Writing in 1962, Joseph Kerman was the first to speculate about potentially subversive political meanings in the Cantiones sacrae of the English Renaissance composer William Byrd, his two collections of motets published in 1589 and 1591, “voicing prayers, exhortations, and protests on behalf of the English Catholic community”. Subsequent research has corroborated Kerman’s speculations, showing that many of the texts Byrd set indeed feature the same politically charged metaphors that English Jesuit missionaries used to describe the predicament of Catholics living under the Protestant regime of Queen Elizabeth I, as well as that Byrd maintained close ties with many of these missionaries. In our own time, however, those who have analysed these motets, including Kerman, have paid little attention to this, preferring formal(ist) analytical approaches to this body of music. Focusing on Ne irascaris Domine, one of Byrd’s most famous “political” motets, and the only two major analytical responses to it, this article attempts to demonstrate the limitations of formalist music analysis when applied to Renaissance sacred music.

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On the Connection of Musico-rhetorical Strategies and Marian Topic/Topos in Renaissance Motets

Author(s): Senka Belić / Language(s): English Issue: 28/2020

The text summarizes some of the research results from my doctoral dissertation. In the broadest sense, the following text discusses the influence of rhetorical concepts and practices on the composition practice of the Renaissance. The methodological approach is interdisciplinary and multilayered, and it leads to the interpretation of Marian motifs dating from the late fifteenth to the end of the sixteenth century, in the context of rhetorical ideas and principles, and the Marian topic / topos. The most significant result of this text is the formation of a special analytical method by which the interpretive-contextual reading of musical marking is achieved.

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Beyond Nations: A Thematic History

Author(s): Manuel Pedro Ferreirа / Language(s): English Issue: 27/2019

This paper describes an on-going project, the collaborative T ematic History of Music in Portugal and Brazil; it details its context, rationale, concept, structure and the process that led to its public presentation and preliminary development at CESEM/FCSH, Universidade Nova de Lisboa. T e importance of Africa in the understanding of some facets not only of modern popular music, but also of 16th18th century genres in Portugal and Brazil is particularly stressed; examples of both polyphonic and instrumental music are given to illustrate this early influence.

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From great expectations to great disappointments: Petar Krstić’s contribution to the process of reforms of music education in interwar Yugoslavia (1918–1921)

Author(s): Ivana Vesić / Language(s): English Issue: 27/2019

This paper deals with the activities of Petar Krstić in the domain of music education in the f rst years af er the First World War and the constitution of the Kingdom of Serbs, Croats and Slovenes. As a long-serving director of the Serbian Music School, Krstić initiated various processes in order to modernize it and transform it into institution of higher level of music education. For that purpose he focused on the school’s internal reorganization and ‘etatization’. As a result, Krstić prepared new school regulations and several draf s of legal texts and started negotiations with the authorities. Krstić’s ideas, plans and his undertakings concerning the reforms during the rule over the Serbian Music School/Music School in Belgrade will be discussed in detail together with their historical value.

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New Data, New Methods? Sources on Ladies’ Salon Orchestras in Europe, 1870–1918

Author(s): Nuppu Koivisto / Language(s): English Issue: 26/2019

This article addresses the problems that pertain to macro-historical data in music research. By presenting examples from recent research on European ladies’ orchestras of the late nineteenth century, I aim to establish how large data sets could be used in a meaningful way. First, I shall present an overview of source materials. Second, methods for analyzing concert programmes will be critically assessed. Third, the possibilities of visualizing concert tours will be explored. Finally, special attention will be paid to questions regarding social class and gender.

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Post-factual Music Historiography: Legends of Art–Religion

Author(s): Helmut Loos / Language(s): English Issue: 26/2019

In many of its areas, the writing of music history in Germany is characterised by the Romantic music outlook and its “Two-World-Model”: the real world is seen as opposing the ideal world of music as a higher existence of ideas and ideals. Art music in the emphatic sense, commonly designated as serious music, pretends to represent that ideal world and makes claims to truthfulness. The science of music actually believes it is able to prove the universality of these claims. A large part of musicological publications are characterised by this assumption. However, a public discussion among musicologists as to whether such writings should belong to the field of theology rather than to historico-critical historiography (as a science in the strict sense) is non-existent. As a result, our field has not only disappeared from a public sphere that wishes to leave those claims to small elitist circles, but has also encountered a growing lack of understanding among other disciplines, even to the point of mockery. It would suffice here to refer to the lawyer Bernhard Weck, who wrote with regard to Beethoven’s Opus 112: “Only musicology could prove that ‘political ideas of freedom can be expressed through gestures of sound.’”

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The politicization of music during the period of totalitarian rule in Bulgaria (1944–1989)

Author(s): Stanimira Dermendzhieva / Language(s): English Issue: 25/2018

Since this is a phenomenon of recent times, the significance of the politicization of music during the period of totalitarian rule in Bulgaria (1944–1989) is still unexplored. This paper focuses on the interplay between the political regime, musical life in Bulgaria, and the status of Bulgarian composers. Many books, articles, conferences and PhDs have been presented recently in the field of cultural studies, promoting a multidisciplinary approach in several fields. A new approach tothis dynamic period would clarify the overall development of Bulgarian musical culture in the twentieth century.

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Ivana Medić - From Polystylism to Meta-Pluralism. Essays on Late Soviet Symphonic Music

Author(s): Ivan Moody / Language(s): English Issue: 23/2017

Review of: Ivana Medić - From Polystylismto Meta-Pluralism. Essays on Late Soviet Symphonic Music. nstitute of Musicology SASA, Belgrade, 2017. ISBN 978-86-80639-30-7.

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