Srpska klavirska muzika u doba romantizma: 1841 - 1914
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Veröffentlicht: |
Novi Sad
Matica Srpska
2006
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | In kyrill. Schr., serb. - Zsfassung in engl. Sprache u.d.T.: Serbian piano music in the age of romanticism |
| Beschreibung: | 299 S. Notenbeisp. |
| ISBN: | 8683651614 |
Internformat
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| 245 | 1 | 0 | |a Srpska klavirska muzika u doba romantizma |b 1841 - 1914 |c Dragana Jeremić-Molnar |
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| 500 | |a In kyrill. Schr., serb. - Zsfassung in engl. Sprache u.d.T.: Serbian piano music in the age of romanticism | ||
| 648 | 7 | |a Geschichte 1841-1914 |2 gnd |9 rswk-swf | |
| 650 | 4 | |a Piano music |z Serbia |x History and criticism | |
| 650 | 4 | |a Romanticism in music |z Serbia |x History and criticism | |
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Datensatz im Suchindex
| _version_ | 1804137795359342592 |
|---|---|
| adam_text | САДРЖАЈ
ПРЕДГОВОР
.......................................7
УВОД: ПИСАНА РЕЧ
О
СРПСКОЈ КЛАВИРСКОЈ МУЗИЦИ
....
И
Клавирска музика као централни предмет
разматрања
.........11
Клавирска музика као
једаи
од разматраних
проблема
.........16
I
СОЦИОЛОШКИ ОСВРТ:
ФУНКЦИЈА
КЛАВИРА И
МУЗИЦИРАЊА
ЗА КЛАВИРОМ
У СВАКОДНЕВНОМ
ЖИВОТУ
СРПСКОГ СТАНОВНИШТВА
. 27
Друштвено-историјски
контекст у
којем
се
неговала клавирска музика
......................... 29
Клавир као
приватии инструмент
.......................33
Клавир као
јавни
инструмент
..........................40
1.
Актери
концертне
сцене .........................
44
2.
Садржај концертног
репертоара
....................49
II
ИСТОРИЈСКИ
ОСВРТ:
НАСТАНАК И
РАЗВОЈ
СРПСКЕ КЛАВИРСКЕ МУЗИКЕ
.... 57
Аутори клавирске музике
............................58
Историјат клавирског
стваралаштва
.....................62
1.
Доба
Корнелија Станковића.......................
63
2.
Период
доминације Јована Пачуа
...................69
3.
Роберт Толингер и
његови савременици
...............75
4.
Клавирска музика
с
почетка
20.
века
.................81
ІП
АНАЛИТИЧКИ ОСВРТ:
ОДЛИКЕ СРПСКОГ КЛАВИРСКОГ СТВАРАЛАШТВА
.......89
Клавирски опуси истакнутих
представника
.................90
1.
Корнелије Станковић
...........................91
а) Теме с
варијацијама
..........................94
б) Игре за клавир (кадрил, полка, коло)
.............107
2.
Јован
Пачу
.................................111
а) Дела у
целини
или делимичио
заснована
на
техници
вариршьа ИЗ
б)
Рапсодије
и кола
...........................118
3.
Роберт Толингер
.............................120
а) Збирке
минијатура
..........................122
б)
Композиције инспирисане
фолклором
..............130
4.
Исидор
Бајић
................................140
а) Албум
композиција
и
појединачни
комади за клавир
. . . 140
б) Дела
садржајно
изникла из музичког
фолклора
.......145
в) Дела пригодног характера
.....................148
5.
Младалачка дела Петра
Коњовића
и
Милоја Милојевића .
. 150
а)
Фантазија
Легенда
..........................151
б) Збирка
Минијатуре
.........................155
Жанровско-формални
„профил српске
клавирске музике
......162
1.
Дела
заснована на
варијационој композиционој
техници:
теме с
варијацијама, фантазије, емпромптија,
парафразе
. . . 166
2.
Композиције
у жанру интернационалних
игара:
валцери, кадрили, полке, мазурке
..................182
3.
Карактерни и програмски клавирски комади
...........191
4.
Маршеви
...................................195
5.
Полифоне форме: фуга
.........................199
6.
Клавирске обраде
постојећег
музичког
(претежно фолклорног)
садржаја
..................203
а) Обраде вокалних напева
......................203
б) Обраде играчких напева
......................210
УМЕСТО
ЗАКЉУЧКА
...............................215
ПРИЛОЗИ
.......................................221
1.
Списак композитора и
њихових клавирских
дела
..........221
2.
Хронолошки
преглед
српске клавирске музике
............239
3.
Преглед
клавирских дела по жанровима
................243
4.
Развој концертног
живота
.........................251
ЛИТЕРАТУРА
....................................269
SUMMARY
......................................281
ИМЕНСКИ РЕГИСТАР
..........................285
Dragana Jeremić-Molnar
Serbian Piano Music in the Age of Romanticism
(1841-1914)
SUMMARY
Insight into one of the most popular
-
and for a musicologist the most
relevant
-
data bases RILM {Resource
Internationale de
Literature
Musica¬
le)
confirmed that the foreign historians of music
-
both European and those
from other continents
-
in the last several decades revived their interest in
the study of piano music from the countries which cannot boast of a signifi¬
cant tradition and age-long continuity in the heritage of artistic music.
Among other things, the focus of attention in their researches included the
piano music from the Bulgarian, Byelorussian, Moldavian, Tatar, American,
Puerto Rican, Brazilian, Finnish, Georgian, Turkmenian, Spanish, Swedish
nation... When placed in such a broader scientific context, this study
-
dedi¬
cated to the piano creativity of the Serbian nation from the initial period of
the development of its music history
-
could be interpreted as an attempt to
contribute to a more comprehesive study of the formation, spreading and
recognition of one of the genres of instrumental music.
In the light of the mentioned tendencies in world musicology, it became
harder and harder to find a meaningful justification for the musicologists
continual negligence to prepare a more thorough study about the 19th centu¬
ry piano music in Serbia. All the possible reasons for neglecting the Serbian
piano music till World War I became obsolete in the light of the responsi¬
bility of the Serbian musicologists to save this segment of their musical heri¬
tage from oblivion and include it in the corpus of knowledge about the paths
through which „the piano conquered the world .
Placing the Serbian 19th century piano music into a global context im¬
plies the opening of a very significant issue: the issue of influence on the
first Serbian composers and performers who directed their attention to this
young, but more and more popular music instrument. In the nature of things,
the influences which came from the immediate regional environment (from
Austria, Germany, Poland, Czechia, Hungary), but also from West Europe
(from France), were the strongest ones. Although the issue of influence is
complex in its nature, and although it still awaits its proper researcher, one
cannot say that it completely escaped the attention of the domestic musicolo¬
gists and music writers, either. Aware of the fact that the music and piano
expression of the composers who created piano works in the regions of
281
Serbia and
Vojvodina
had to be formed under the influence of certain Euro¬
pean sources, the researchers of the Serbian piano music so far have tried to
specify the style of the works of the authors from this area and to relate
them to certain terms in European music. Doing that, they applied the prin¬
ciple of evaluation and parallel view almost exclusively to the works of the
outstanding composers, leaving the creativity of the amateur musicians un¬
studied.
The stated opinions were similar, although not always uninanimous.
The greatest degree of unanimousness was related to the opinion that the
Serbian piano music was formed under the auspices of European music, spe¬
cially its drawing-room branch, as well as under the „patronage of the ear¬
ly romanticists and the representatives of Slavic, that is Nordic romanticism.
There was also a widespread opinion that the piano works written in the
forms characteristic for the drawing-room repertoire belong to the domain of
the virtuoso style with the pronounced elements of
sentimentalism,
and that
the composers when creating miniatures relied on „the more serious artistic
sources.
Although the pens of the eminent Serbian musicologists wrote these
opinions, their correctness is questionable, because they were presented as
casual remarks and because they as such remained unexplained and unargu-
mented. After an analytical review of the piano works, the discussion about
their characteristics, attempts to fathom the authors approach to composing,
we realized that all possible comparisons of the selected and the most rep¬
resentative samples of the domestic and European piano literature should re¬
main at the surface level, because a deep, more studious review would not
lead to the observation of numerous similarities, but only of shortcomings
and inadequacies which would be attributed to the piano works originating
from the Serbian soil. If we apply the measures of European piano music to
them, they would appear insufficiently strong, immature in some details.
Certain procedures would be interpreted as clumsy, harmony even in the
most successful works as insufficiently inventive and convincing, their struc¬
ture and form as too simple, and rhythm as
stereotypie.
Analogies which
could be established with some works from the European piano literature re¬
main at the level of associations, indicated primarily by the structural pat¬
tern, but also by the general tone of the composition, its atmosphere, and
more rarely by the melodic content itself
-
exclusively when it represented
a product of the author s original invention. However, it also certain that the
Serbian composers and modestly-gifted Czech musicians borrowed from the
fund of used resources
-
solutions for the accompaniment and melodic turns,
from the rich treasure of piano music represented by Mendlessohn s, Schu-
282
mann s and Schubert s collection of miniatures, as well as Chopin s and
Liszt s works.
On the bases of the analyses whose results are presented in this work
(and specially in the chapter), one has to come to the conclusion that the de¬
velopment of the Serbian piano music
-
even measured by the achievements
of its most significant representatives
-
did not correspond to the stylistic
and compositional-technical evolution which was going on in Europe at that
time. However, this development did not completely disregard the European
trends either. The primary aim of the largest number of the composers was
not to achieve „the contemporariness in their works
-
they created led by
the need to alleviate the vast difference and distance between the rich Euro¬
pean and only appearing domestic piano tradition. Therefore, in their works
we can observe the path from early to late romanticism;
Milojević
and Ko-
njović
-
only partly
-
managed to adopt and apply its music language, while
the mastering of more contemporary stylistic trends was left to the following
period of Serbian music tradition. The work of all other authors, amateurs
and numerous educated protagonists, was based exclusively on conservative
standpoints.
The effort used to create the musical foundations, to determine the mu¬
sical characteristics and make up for the great lag in relation to the Eu¬
ropean music, subdued all attempts and tendencies for the Serbian piano mu¬
sic to acquire authentic, clearly defined features characteristic only for itself,
which would become a synonym for the Serbian nation and its cultural area.
Although the composers had „in their hands the ideal and the strongest
means to achieve such a goal
-
music folklore
-
only some individuals ma¬
naged to present it in an artistic way. What the 19th century composers did
not achieve was done by their successors,
Marko Tajčević,
for example, but
also
Miloje Milojević,
who was continually, almost till the end of his life,
interested in piano realization of folk motives. Only the piano works of the
20th century composers
-
based on the folk creations or written in the folk
spirit
-
overcame the local limitations and acquired a certain status in
European proportions.
Viewed from the present perspective
-
from the time when the 19th
century heritage is observed both with respect and suspicion, actually with a
sharp critical evaluation
-
the piano works of the Serbian composers and the
composers settled in Serbia lose their previous „qualities which were inva¬
luable for a modest, culturally underdeveloped
-
although not spiritually
poor
-
environment. Still, one cannot deny them their importance for being
the first. Moreover, one could conclude that till
1914 -
till the end of the pi¬
oneering, initial period of Serbian piano history
-
the foundations were laid
283
for the piano genre which later authors could successfully develop. In other
words, the 19th century saw the formation of the traditional models from
which the next generation could start. The composers from this period thus
carried out their historic mission.
Such a statement in no way means that all the composers we wrote
about in the previous pages had the equal share in the mentioned „missio¬
nary work. While it was necessary to mention the names of most of the au¬
thors
-
as a sign of respect for their effort and contribution
-
and thus save
them for permanent oblivion, only the names of several individuals are
worth remembering, because later authors found inspiration in their works,
as well as models how to create. In addition to the use of the written word
as a means to save certain works from further anonymity because they, to
be realistic, cannot win the place in the concert repertoire
-
which is also an
aim of this book
-
it would be useful to publish a specific anthology of the
Serbian piano music of the romanticist age, whose contents would exclu¬
sively include the selected compositions really worth remembering. In order
to enable the realization of this idea, it is necessary to increase efforts to
study the early Serbian piano production, including its careful evaluative se¬
lection.
Every study of the Serbian
1
9th century piano music should pay tribute
to the past and, at least partly, fulfill the obligation for the future. One
should not forget that the works discussed here
-
since we are at the begin¬
ning of the 21st century
-
would soon become a part of the even more dis¬
tant past; having in mind the attitude to the music heritage so far, it might
be assumed that they as such could undergo an even more pronounced ne¬
glect by the artistic and scientific generation of the new
millenium.
Therefo¬
re, this research
-
which was implemented after a historical distance of al¬
most one century
-
represents not only the basis for all possible further criti¬
cal evaluations of the Serbian piano music, but also a warning about the ne¬
cessity to take care of one s musical heritage.
Preveo
Prof, dr
Predrag Novakov
284
|
| adam_txt |
САДРЖАЈ
ПРЕДГОВОР
.7
УВОД: ПИСАНА РЕЧ
О
СРПСКОЈ КЛАВИРСКОЈ МУЗИЦИ
.
И
Клавирска музика као централни предмет
разматрања
.11
Клавирска музика као
једаи
од разматраних
проблема
.16
I
СОЦИОЛОШКИ ОСВРТ:
ФУНКЦИЈА
КЛАВИРА И
МУЗИЦИРАЊА
ЗА КЛАВИРОМ
У СВАКОДНЕВНОМ
ЖИВОТУ
СРПСКОГ СТАНОВНИШТВА
. 27
Друштвено-историјски
контекст у
којем
се
неговала клавирска музика
. 29
Клавир као
приватии инструмент
.33
Клавир као
јавни
инструмент
.40
1.
Актери
концертне
сцене .
44
2.
Садржај концертног
репертоара
.49
II
ИСТОРИЈСКИ
ОСВРТ:
НАСТАНАК И
РАЗВОЈ
СРПСКЕ КЛАВИРСКЕ МУЗИКЕ
. 57
Аутори клавирске музике
.58
Историјат клавирског
стваралаштва
.62
1.
Доба
Корнелија Станковића.
63
2.
Период
доминације Јована Пачуа
.69
3.
Роберт Толингер и
његови савременици
.75
4.
Клавирска музика
с
почетка
20.
века
.81
ІП
АНАЛИТИЧКИ ОСВРТ:
ОДЛИКЕ СРПСКОГ КЛАВИРСКОГ СТВАРАЛАШТВА
.89
Клавирски опуси истакнутих
представника
.90
1.
Корнелије Станковић
.91
а) Теме с
варијацијама
.94
б) Игре за клавир (кадрил, полка, коло)
.107
2.
Јован
Пачу
.111
а) Дела у
целини
или делимичио
заснована
на
техници
вариршьа ИЗ
б)
Рапсодије
и кола
.118
3.
Роберт Толингер
.120
а) Збирке
минијатура
.122
б)
Композиције инспирисане
фолклором
.130
4.
Исидор
Бајић
.140
а) Албум
композиција
и
појединачни
комади за клавир
. . . 140
б) Дела
садржајно
изникла из музичког
фолклора
.145
в) Дела пригодног характера
.148
5.
Младалачка дела Петра
Коњовића
и
Милоја Милојевића .
. 150
а)
Фантазија
Легенда
.151
б) Збирка
Минијатуре
.155
Жанровско-формални
„профил" српске
клавирске музике
.162
1.
Дела
заснована на
варијационој композиционој
техници:
теме с
варијацијама, фантазије, емпромптија,
парафразе
. . . 166
2.
Композиције
у жанру интернационалних
игара:
валцери, кадрили, полке, мазурке
.182
3.
Карактерни и програмски клавирски комади
.191
4.
Маршеви
.195
5.
Полифоне форме: фуга
.199
6.
Клавирске обраде
постојећег
музичког
(претежно фолклорног)
садржаја
.203
а) Обраде вокалних напева
.203
б) Обраде играчких напева
.210
УМЕСТО
ЗАКЉУЧКА
.215
ПРИЛОЗИ
.221
1.
Списак композитора и
њихових клавирских
дела
.221
2.
Хронолошки
преглед
српске клавирске музике
.239
3.
Преглед
клавирских дела по жанровима
.243
4.
Развој концертног
живота
.251
ЛИТЕРАТУРА
.269
SUMMARY
.281
ИМЕНСКИ РЕГИСТАР
.285
Dragana Jeremić-Molnar
Serbian Piano Music in the Age of Romanticism
(1841-1914)
SUMMARY
Insight into one of the most popular
-
and for a musicologist the most
relevant
-
data bases RILM {Resource
Internationale de
Literature
Musica¬
le)
confirmed that the foreign historians of music
-
both European and those
from other continents
-
in the last several decades revived their interest in
the study of piano music from the countries which cannot boast of a signifi¬
cant tradition and age-long continuity in the heritage of artistic music.
Among other things, the focus of attention in their researches included the
piano music from the Bulgarian, Byelorussian, Moldavian, Tatar, American,
Puerto Rican, Brazilian, Finnish, Georgian, Turkmenian, Spanish, Swedish
nation. When placed in such a broader scientific context, this study
-
dedi¬
cated to the piano creativity of the Serbian nation from the initial period of
the development of its music history
-
could be interpreted as an attempt to
contribute to a more comprehesive study of the formation, spreading and
recognition of one of the genres of instrumental music.
In the light of the mentioned tendencies in world musicology, it became
harder and harder to find a meaningful justification for the musicologists'
continual negligence to prepare a more thorough study about the 19th centu¬
ry piano music in Serbia. All the possible reasons for neglecting the Serbian
piano music till World War I became obsolete in the light of the responsi¬
bility of the Serbian musicologists to save this segment of their musical heri¬
tage from oblivion and include it in the corpus of knowledge about the paths
through which „the piano conquered the world".
Placing the Serbian 19th century piano music into a global context im¬
plies the opening of a very significant issue: the issue of influence on the
first Serbian composers and performers who directed their attention to this
young, but more and more popular music instrument. In the nature of things,
the influences which came from the immediate regional environment (from
Austria, Germany, Poland, Czechia, Hungary), but also from West Europe
(from France), were the strongest ones. Although the issue of influence is
complex in its nature, and although it still awaits its proper researcher, one
cannot say that it completely escaped the attention of the domestic musicolo¬
gists and music writers, either. Aware of the fact that the music and piano
expression of the composers who created piano works in the regions of
281
Serbia and
Vojvodina
had to be formed under the influence of certain Euro¬
pean sources, the researchers of the Serbian piano music so far have tried to
specify the style of the works of the authors from this area and to relate
them to certain terms in European music. Doing that, they applied the prin¬
ciple of evaluation and parallel view almost exclusively to the works of the
outstanding composers, leaving the creativity of the amateur musicians un¬
studied.
The stated opinions were similar, although not always uninanimous.
The greatest degree of unanimousness was related to the opinion that the
Serbian piano music was formed under the auspices of European music, spe¬
cially its drawing-room branch, as well as under the „patronage" of the ear¬
ly romanticists and the representatives of Slavic, that is Nordic romanticism.
There was also a widespread opinion that the piano works written in the
forms characteristic for the drawing-room repertoire belong to the domain of
the virtuoso style with the pronounced elements of
sentimentalism,
and that
the composers when creating miniatures relied on „the more serious" artistic
sources.
Although the pens of the eminent Serbian musicologists wrote these
opinions, their correctness is questionable, because they were presented as
casual remarks and because they as such remained unexplained and unargu-
mented. After an analytical review of the piano works, the discussion about
their characteristics, attempts to fathom the authors' approach to composing,
we realized that all possible comparisons of the selected and the most rep¬
resentative samples of the domestic and European piano literature should re¬
main at the surface level, because a deep, more studious review would not
lead to the observation of numerous similarities, but only of shortcomings
and inadequacies which would be attributed to the piano works originating
from the Serbian soil. If we apply the measures of European piano music to
them, they would appear insufficiently strong, immature in some details.
Certain procedures would be interpreted as clumsy, harmony even in the
most successful works as insufficiently inventive and convincing, their struc¬
ture and form as too simple, and rhythm as
stereotypie.
Analogies which
could be established with some works from the European piano literature re¬
main at the level of associations, indicated primarily by the structural pat¬
tern, but also by the general tone of the composition, its atmosphere, and
more rarely by the melodic content itself
-
exclusively when it represented
a product of the author's original invention. However, it also certain that the
Serbian composers and modestly-gifted Czech musicians borrowed from the
fund of used resources
-
solutions for the accompaniment and melodic turns,
from the rich treasure of piano music represented by Mendlessohn's, Schu-
282
mann's and Schubert's collection of miniatures, as well as Chopin's and
Liszt's works.
On the bases of the analyses whose results are presented in this work
(and specially in the chapter), one has to come to the conclusion that the de¬
velopment of the Serbian piano music
-
even measured by the achievements
of its most significant representatives
-
did not correspond to the stylistic
and compositional-technical evolution which was going on in Europe at that
time. However, this development did not completely disregard the European
trends either. The primary aim of the largest number of the composers was
not to achieve „the contemporariness" in their works
-
they created led by
the need to alleviate the vast difference and distance between the rich Euro¬
pean and only appearing domestic piano tradition. Therefore, in their works
we can observe the path from early to late romanticism;
Milojević
and Ko-
njović
-
only partly
-
managed to adopt and apply its music language, while
the mastering of more contemporary stylistic trends was left to the following
period of Serbian music tradition. The work of all other authors, amateurs
and numerous educated protagonists, was based exclusively on conservative
standpoints.
The effort used to create the musical foundations, to determine the mu¬
sical characteristics and make up for the great lag in relation to the Eu¬
ropean music, subdued all attempts and tendencies for the Serbian piano mu¬
sic to acquire authentic, clearly defined features characteristic only for itself,
which would become a synonym for the Serbian nation and its cultural area.
Although the composers had „in their hands" the ideal and the strongest
means to achieve such a goal
-
music folklore
-
only some individuals ma¬
naged to present it in an artistic way. What the 19th century composers did
not achieve was done by their successors,
Marko Tajčević,
for example, but
also
Miloje Milojević,
who was continually, almost till the end of his life,
interested in piano realization of folk motives. Only the piano works of the
20th century composers
-
based on the folk creations or written in the folk
spirit
-
overcame the local limitations and acquired a certain status in
European proportions.
Viewed from the present perspective
-
from the time when the 19th
century heritage is observed both with respect and suspicion, actually with a
sharp critical evaluation
-
the piano works of the Serbian composers and the
composers settled in Serbia lose their previous „qualities" which were inva¬
luable for a modest, culturally underdeveloped
-
although not spiritually
poor
-
environment. Still, one cannot deny them their importance for being
the first. Moreover, one could conclude that till
1914 -
till the end of the pi¬
oneering, initial period of Serbian piano history
-
the foundations were laid
283
for the piano genre which later authors could successfully develop. In other
words, the 19th century saw the formation of the traditional models from
which the next generation could start. The composers from this period thus
carried out their historic mission.
Such a statement in no way means that all the composers we wrote
about in the previous pages had the equal share in the mentioned „missio¬
nary" work. While it was necessary to mention the names of most of the au¬
thors
-
as a sign of respect for their effort and contribution
-
and thus save
them for permanent oblivion, only the names of several individuals are
worth remembering, because later authors found inspiration in their works,
as well as models how to create. In addition to the use of the written word
as a means to save certain works from further anonymity because they, to
be realistic, cannot win the place in the concert repertoire
-
which is also an
aim of this book
-
it would be useful to publish a specific anthology of the
Serbian piano music of the romanticist age, whose contents would exclu¬
sively include the selected compositions really worth remembering. In order
to enable the realization of this idea, it is necessary to increase efforts to
study the early Serbian piano production, including its careful evaluative se¬
lection.
Every study of the Serbian
1
9th century piano music should pay tribute
to the past and, at least partly, fulfill the obligation for the future. One
should not forget that the works discussed here
-
since we are at the begin¬
ning of the 21st century
-
would soon become a part of the even more dis¬
tant past; having in mind the attitude to the music heritage so far, it might
be assumed that they as such could undergo an even more pronounced ne¬
glect by the artistic and scientific generation of the new
millenium.
Therefo¬
re, this research
-
which was implemented after a historical distance of al¬
most one century
-
represents not only the basis for all possible further criti¬
cal evaluations of the Serbian piano music, but also a warning about the ne¬
cessity to take care of one's musical heritage.
Preveo
Prof, dr
Predrag Novakov
284 |
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| geographic | Serbien (DE-588)4054598-2 gnd |
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| id | DE-604.BV023408746 |
| illustrated | Illustrated |
| index_date | 2024-07-02T21:26:41Z |
| indexdate | 2024-07-09T21:17:58Z |
| institution | BVB |
| isbn | 8683651614 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016591398 |
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| physical | 299 S. Notenbeisp. |
| publishDate | 2006 |
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| publisher | Matica Srpska |
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| spelling | Jeremić-Molnar, Dragana 1974- Verfasser (DE-588)136238564 aut Srpska klavirska muzika u doba romantizma 1841 - 1914 Dragana Jeremić-Molnar Novi Sad Matica Srpska 2006 299 S. Notenbeisp. txt rdacontent n rdamedia nc rdacarrier In kyrill. Schr., serb. - Zsfassung in engl. Sprache u.d.T.: Serbian piano music in the age of romanticism Geschichte 1841-1914 gnd rswk-swf Piano music Serbia History and criticism Romanticism in music Serbia History and criticism Klaviermusik (DE-588)4030993-9 gnd rswk-swf Serbien (DE-588)4054598-2 gnd rswk-swf Serbien (DE-588)4054598-2 g Klaviermusik (DE-588)4030993-9 s Geschichte 1841-1914 z DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016591398&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016591398&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Jeremić-Molnar, Dragana 1974- Srpska klavirska muzika u doba romantizma 1841 - 1914 Piano music Serbia History and criticism Romanticism in music Serbia History and criticism Klaviermusik (DE-588)4030993-9 gnd |
| subject_GND | (DE-588)4030993-9 (DE-588)4054598-2 |
| title | Srpska klavirska muzika u doba romantizma 1841 - 1914 |
| title_auth | Srpska klavirska muzika u doba romantizma 1841 - 1914 |
| title_exact_search | Srpska klavirska muzika u doba romantizma 1841 - 1914 |
| title_exact_search_txtP | Srpska klavirska muzika u doba romantizma 1841 - 1914 |
| title_full | Srpska klavirska muzika u doba romantizma 1841 - 1914 Dragana Jeremić-Molnar |
| title_fullStr | Srpska klavirska muzika u doba romantizma 1841 - 1914 Dragana Jeremić-Molnar |
| title_full_unstemmed | Srpska klavirska muzika u doba romantizma 1841 - 1914 Dragana Jeremić-Molnar |
| title_short | Srpska klavirska muzika u doba romantizma |
| title_sort | srpska klavirska muzika u doba romantizma 1841 1914 |
| title_sub | 1841 - 1914 |
| topic | Piano music Serbia History and criticism Romanticism in music Serbia History and criticism Klaviermusik (DE-588)4030993-9 gnd |
| topic_facet | Piano music Serbia History and criticism Romanticism in music Serbia History and criticism Klaviermusik Serbien |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016591398&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016591398&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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