Istorija srpske muzike: srpska muzika i evropsko muzičko nasleđe
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Veröffentlicht: |
Beograd
Zavod za Udžbenike
2007
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | In kyrill. Schr., serb. - Zsfassung in engl. Sprache |
| Beschreibung: | 786 S. Ill., Notenbeisp. |
| ISBN: | 9788617152374 |
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Datensatz im Suchindex
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|---|---|
| adam_text | САДРЖАЈ
Предговор,
Ненад
Остојић
........................................................................................... 7
Foreword, Nenad
Ostojić................................................................................................
13
Мирјана Веселиновић-Хофман: Уводне напомене
о
књизи
„Историја српске музике
............................................................................................. 17
Mirjana Veselinović-Hofman:
Introductory notes on the book
The history of Serbian music
......................................................................................... 23
Први део: ПУТЕВИ И
ТЕНДЕНЦИЈЕ РАЗВОЈА
Ивана
Перковић-Радак:
Стара музика
..................................................................... 29
Роксанда
Пејовић:
Музички инструменти у уметности
средњовековне државе..
63
Соња Маринковић:
Музика у
XIX
веку
и
првој
половини
XX
века
............................ 71
Мирјана Весединовић-Хофман:
Музика
y gpyïoj
половини
XX
века
.........................107
Други део:
СТИЛСКЕ КООРДИНАТЕ
Татјана Марковић:
Музички романтизамиз
стилско-теоријског
аспекта
...........139
Марија
Масникоса: Експресионизам
..............................................................................165
Весна
Микић:
Неокласичне
тенденције
.........................................................................193
Тијана Поповић-Млађеновић: Музичка
модерна
друге половине
XX
века
..............215
Мирјана Веселиновић-Хофман:
Постмодерна
-
карактеристике
и одабири „игре
......................................................247
Трећи
део:
КРОЗ МУЗИЧКЕ ВРСТЕ
Ивана
Перковић-Радак: Црквена
музика
.......................................................................297
Татјана Марковић:
Хорска музика...................................................................................
331
Ана
Стефановић:
Cono
йесма
...........................................................................................357
Драгана
Јеремић-Молнар:
Юіавирска музика романтичарскої доба (до
1914)........405
Весна
Микић:
Юіавирска музика после
1914.
године:
романтизам
-
модерна
-
постмодерна
.............................................................................423
Татјана Марковић:
Музичко-сценска
дела:
комад
с
певањем;
опера
.........................441
Соња Маринковић: Развој
камерне музике до
1950.....................................................459
Тијана Поповић-Млађеновић
и Драгана
Стојановић-Новичић:
Преглед
камерне музике
(1950-2004)................................................................................467
Драгана
Стојановић-Новичић
и
Марија Масникоса: Оркестарска
музика
............493
Ивана
Вуксановић: Концертантна
музика
..................................................................517
Милена
Медић: Вокално-инструментална
музика
....................................................545
Ивана
Вуксановић: Популарна
музика
...........................................................................581
Весна
Микић: Електроакустичка/техномузика
.........................................................601
Четврти део: ШКОЛСТВО
-
РЕПРОДУКЦИЈА
-
ПИСАНА
РЕЧ
Соња Маринковић: Музичко школство
........................................................................627
Роксанда Пејовић: Музичко извођаштво:
концертни музички живот
до Друїої светскоїрата
..................................................639
Соња Маринковић:
Музички часописи
..........................................................................681
Роксанда
Пејовић:
Текстови
о музици
...........................................................................685
Мишко
Шуваковић:
Естетика музике
XX
века
...........................................................733
БИБЛИОГРАФИЈА
...........................................................................................................751
РЕГИСТАР
ИМЕНА
.........................................................................................................765
ПРИЛОГ
..............................................................................................................................780
Foreword
Creative diversity of any kind, apart from being a mode in which
a contemporary artistic/scientific being is brought to fruition, allows for
additional and more refined contemplation about the overall historical
heritage of the previously acquired artistic experience which contempo¬
raries not only use to define the world that surrounds them but also to
obtain a meaningful communication with earlier generations and their
artistic/scientific reality. Although this type of inter-relationship is fully
achieved on an identical level and is best manifested within a uniquely de¬
fined creative space, with every new piece of work bringing changes to the
world that it belongs to, effects that are felt through digressions in more
or less similar, or seemingly dissimilar, areas of human ingenuity are not
to be ignored. Thus, contemporary musicological interpretation not only
conveys the verve of science that it belongs to but voices the previously
acquired scientific knowledge and our interaction with composers, as well
as the overall artistic creation of our times and that of the generations that
preceded us. The answer as to whether, and to what extent, this is possible
ought to be sought through tangible, single or group, actions, outlined by
the authors themselves.
The musicological interpretations that we have here before us, pro¬
duced by a group of musicologists from the Department of Musicology and
the Department of Theory of the Faculty of Music in Belgrade, embody the
type of activity previously mentioned. They represent the outcome of an
accurately planned, methodologically deliberated and creatively realized,
year-long scientific project which also rests on the reputation of its authors,
recognized as such by the scholarly and cultural community. As suggested
in the Introductory Notes by the project leader, Dr.
Mirjana Veselinović-
Hofman, the book offers research results in several areas, which were on
the whole conducted concurrently because neither the subjects nor meth¬
odology could be
-
in principle they are not
-
treated as self-sufficient or
strictly separate entities. The approved, general concept of methodology
helpedthe achieved results to be systematically arranged into four distinc¬
tive parts through which the historical development of music in Serbia is
portrayed. These are: Developmental Ways and Tendencies, Style Coordi¬
nates, From One Music Genre to Another and Education
-
Reproduction
-
The Written Word. Quite obviously the research also treated such forms
of musical expression, which science does not often bring into focus and
which also ...define the overall sphere of the institution of music...
(popular music, education, publishing, the written word).
The first part of the book
-
comprising texts by musicologists
Ivana
Perković-Radak
(Early Music),
Roksanda Pejović
(Musical Instruments in
a Medieval State s Art),
Sonja
Marinković
(Music of the 19th and the First
Half of the 20th Centuries) and
Mirjana Veselinović-Hofman
(Music in
the Second Half of the 20th Century)
-
speaks about the developmental
tendencies of Serbian music, shown in the context of their historical ex¬
pression both in time and cultural space, and following their earliest trac¬
es to the 21st Century, in which the first attempts at collecting and saving
artistic heritage are being made. As a result of this, a setting was created
in which, observed from different angles, particular qualities of creative
energies that helped the realization of our music were acknowledged both
in Serbian culture and the general civilizational legacy.
In the second part of the book, the obtained survey results echo the
developmental course of Serbian music in which individual viewpoints
were based on style coordinates. The texts by
Tatjana
Markovié
(Ro¬
manticism in Music
-
the Aspects of Style and Theory),
Marija Masnikosa
(Expressionism),
Vesna Mikić
(Neoclassical Tendencies), Tijana
Popović-
Mlađenović
(Modernism in Music during the Second Half of the 20th Cen¬
tury) and
Mirjana Veselinović-Hofman
(Post-modernism
-
Characteristics
and Selection of Games ) reveal, on the theoretical and/or analytical level,
general as well as specific qualities of style references, or rather they point
toward their features, which Serbian music uses to prove its adherence to
the European cultural legacy but also to expand the rich palette of its fine
distinctions.
The third part of the book entitled From One Music Genre to An¬
other contains surveys collected from a completely different perspective
of creativity of Serbian composers in which specific features, as the titles
of particular studies clearly suggest, are explained through various genre
types, in which creativity adopts concrete shape, and through a descrip¬
tion of the rich distinctions palette observed in the works of some au¬
thors. Although it is clear that the texts by
Ivana Perković-
Radak (Church
Music),
Tatjana
Markovié
(Choral Music), Ana
Stefanović
(Songs),
Dra¬
gana Jeremić-Molnar
(Piano Music of Romanticisms
-
until
1914),
Vesna
Mikić
(Piano Music After
1914;
Electro-Acoustic/Techno-Music),
Tatjana
Markovié
(Lyric-Stage
-
Song-play; Opera),
Sonja
Marinković
(Chamber
Music Until
1950),
Tijana
Popović-Mlađenović
and
Dragana Stojanović-
Novičić
(A Survey of Chamber Music,
1950-2004),
Dragana Stojanović-
Novičić
and
Marija
Masnikosa
(Orchestral Music),
Ivana Vuksanović
(Concertante
Music, Popular Music), and
Milena
Medic (Music for Choir
and Orchestra) were influenced by the same source, their interpretative
energy neither methodologically nor in terms of the results that were
sought represents the realization of a preconceived, given model. While
some authors chose to portray a chosen genre through relatively shorter
texts, others directed their research towards more comprehensive studies.
That way, a complex review of the genre palette of Serbian music acquired
an enriched nuance, supplying the biggest part of the book with the es¬
sential completeness and a desired diversity. The result of such method¬
ological directness maybe a pre-intoned interpretation of the complex
meaning of particular genre modalities of the Serbian music corpus. I
am convinced, nonetheless, that less initiated readers who are aware that
this might lead to an inadequate conclusion will not form their opinions
purely on the basis of the texts volume or the particularities of the applied
musicologica!
apparatus.
Since the world of music is not tediously defined merely within its
primary stratum, which undoubtedly allows for composing creativity,
but shapes its integrity on such creative contributions which that primary
level either presumably necessitates (music education) or renders (per¬
forming, musicological and philosophical/aesthetic interpretation), the
exceptional value of the project, of which this book is the result, lies in
the study of the secondary level which is not a frequent topic of research
work. The final part of the book (Education
-
Reproduction
-
The Written
Word) offers results of research on the development of music education
(Sonja
Marinković,
Music Education); with collected and systematically
arranged facts about musical instruments and vocal soloists, as well as
choral, chamber, orchestral and operatic ensembles, which brought the
very being of Serbian music to fruition within the historic context of its
development (Roksanda
Pejović,
Music Performance: Concert Life Until
the Second World War); information about the development of musico¬
logical interpretations and their authors but also about the institutions of
its presentations
(Sonja
Marinković,
Music Magazines; Roksanda
Pejović,
Texts About Music). The final part of the book explains the context within
which philosophical/aesthetic interpretations of music developed in gen¬
eral, and in Serbia in particular
(Miško Šuvaković,
Aesthetics of the 20th
Century Music).
It is my opinion that the content of The History of Serbian Music,
although sketched, clearly portrays the exceptionally serious and almost
overwhelming universality of the scientific project, the results of which
are presented in this book. It is important, however, that its broad cover¬
age not only excludes but rather assumes that the project will incorporate,
as one of its main conceptual references, and also welcome future results
of new musicological interpretations, be they individual or team ones.
The directness makes room for additional research on the levels that
the project considered, but has not adequately treated and merely touched
upon or deliberated within the general context (secular folk music; real¬
ism, impressionism; ballet music, film music, theatre music, performing
art in the second half of the 20th century, for example) and the possibility
for further study of the opus of particular authors, and the works of a few
contemporary composers that have not at all been considered.
By emerging into the cultural space which grossly lacks not only sci¬
entific but also popular musicological publications, The History of Serbian
Music represents a unique attempt that, with its coverage, ample initia¬
tives, corroborated foundations of scientific results, and an always clear
and comprehensible style of presentation and language diversity, adds to
the not so large but nevertheless valuable collection of important publish¬
ing challenges realized in this area. As a university text-book, it will be a
valuable starting point for new generations of musicians of various pro¬
files (composers, musicologists, performers, music pedagogues) on their
path of artistic development. It also provides references, which can arouse
interest within the wider cultural community in the country and abroad
in their search for relevant information about diverse aspects of Serbian
music and its developmental trends.
NENAD
OSTOJIĆ,
Professor at the Art Academy of
Novi Sad
University
|
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| spelling | Veselinović-Hofman, Mirjana 1948- Verfasser (DE-588)128464011 aut Istorija srpske muzike srpska muzika i evropsko muzičko nasleđe Mirjana Veselinović-Hofman Beograd Zavod za Udžbenike 2007 786 S. Ill., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier In kyrill. Schr., serb. - Zsfassung in engl. Sprache Geschichte gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Serbien (DE-588)4054598-2 gnd rswk-swf Serbien (DE-588)4054598-2 g Musik (DE-588)4040802-4 s Geschichte z DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017020661&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=017020661&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Veselinović-Hofman, Mirjana 1948- Istorija srpske muzike srpska muzika i evropsko muzičko nasleđe Musik (DE-588)4040802-4 gnd |
| subject_GND | (DE-588)4040802-4 (DE-588)4054598-2 |
| title | Istorija srpske muzike srpska muzika i evropsko muzičko nasleđe |
| title_auth | Istorija srpske muzike srpska muzika i evropsko muzičko nasleđe |
| title_exact_search | Istorija srpske muzike srpska muzika i evropsko muzičko nasleđe |
| title_full | Istorija srpske muzike srpska muzika i evropsko muzičko nasleđe Mirjana Veselinović-Hofman |
| title_fullStr | Istorija srpske muzike srpska muzika i evropsko muzičko nasleđe Mirjana Veselinović-Hofman |
| title_full_unstemmed | Istorija srpske muzike srpska muzika i evropsko muzičko nasleđe Mirjana Veselinović-Hofman |
| title_short | Istorija srpske muzike |
| title_sort | istorija srpske muzike srpska muzika i evropsko muzicko naslede |
| title_sub | srpska muzika i evropsko muzičko nasleđe |
| topic | Musik (DE-588)4040802-4 gnd |
| topic_facet | Musik Serbien |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017020661&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=017020661&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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