Od anđeoskog pojanja do horske umetnosti: srpska horska crkvena muzika u periodu romantizma (do 1914 godine)
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Veröffentlicht: |
Beograd
Fak. Muzičke Umetnosti [u.a.]
2008
|
| Schriftenreihe: | Muzikološke studije - Disertacije
1 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | In kyrill. Schr., serb. - Zsfassung in engl. Sprache. - Zugl.: Belgrad, Univ., Musikwiss. Fak., Diss., 2005 |
| Beschreibung: | 352 S. Ill., Notenbeisp. |
| ISBN: | 9788683745937 |
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| 500 | |a In kyrill. Schr., serb. - Zsfassung in engl. Sprache. - Zugl.: Belgrad, Univ., Musikwiss. Fak., Diss., 2005 | ||
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Datensatz im Suchindex
| _version_ | 1805070595624271872 |
|---|---|
| adam_text |
САДРЖАЈ
ПРЕДГОВОР
1
УВОД
5
ТЕРМИНОЛОШКЕ ОДРЕДНИЦЕ
11
Музика и православно
богослужење - питање
термина
11
Жанровски аспекти српске хорске црквене музике
21
ИСТОРИЈСКИ
И СОЦИОКУЛТУРНИ
КОНТЕКСТ
29
Православност
37
Национални
елементи
43
Статус уметности
52
МОДУСИ
ПОСТОЈАЊА
ЦРКВЕНЕ МУЗИКЕ
61
Modus creatoris:
историјски
аспект стваралаштва
б
1
почеци хармоничног
пјенија
63
На новим путевима
68
У
знаку романтизма:
Јосиф МАРиНкоаИЋ
и Стёван
Стојановић Мокрањац
85
изметјутрадицијеисавремености
99
Modus procedendi:
стваралачки принципи
113
Дела
koja
нису
заснована на традиционалним
мелодијама
115
Литургијски циклуси
116
Опело,
парастос
или помен
■ 127
Литургијске
и празничне песме
134
Друге врете песама и циклуса
134
Резиме:
параметри музичког израза
146
Мелодија
и
ритам.
Метар
146
Хармонија
149
Форма и микроструктура
152
Фактура и однос према хорском ансамблу
154
Третман текста
· 158
Дела
koja
су заснована на
традиционалним напевима
163
Литургијски циклуси
163
Опело
189
Друге
врете циклуса. Празничне песме
193
Резиме: параметри музичког израза
193
Третман напева
193
Хармонија
202
Фактура и однос према хорском ансамблу
207
Третман текста
213
Пародије
219
Modus vivendi
230
БОГОСЛУЖБЕНА МУЗИКА У ХРАМОВИМА И
НА КОНЦЕРТНИМ
ПРОГРАМИМА
230
Појање
на
богослужењима
238
Репертоар
242
Концерти
и беседе
247
Репертоар
254
ЦРКВЕНО
ВИШЕГЛАСЈЕ
И ШКОЛСТВО
266
Историјски
поглед
269
Први период
270
Други период
274
ЦРКВЕНО
ВИШЕГЛАСЈЕ
И МУЗИЧКО ИЗДАВАШТВО
279
ХОРСКО
ПОЈАЊЕ
KAO
ПУТ
ОБНАВЉАЊА
ЗАЈЕДНИЦЕ
ПРАВОСЛАВНИХ
ЗЕМАЉА
281
ЛИТЕРАТУРА
(избор)
287
ПРИЛОЗИ
307
Прилог
1 :
Хронолошки преглед вишегласних композицша
певаних у храмовима (избор)
307
Прилог
2:
Хронолошки преглед вишегласиих
композиција
певаних на концертима и беседама (избор)
319
Прилог
3:
Преглед штампаних
издања
вишегласие црквене музике
335
SUMMARY
341
ИНДЕКС ИМЕНА
349
SUMMARY
This book, titled From Angel Chant to the Choral Art, consists of improved
and amended text of my Doctoral Dissertation, presented, at the Department
of Musicology of the Faculty of Music, Belgrade in
2005.
The book is published,
not only due to a university custom of regular PhD papers publishing, but more
owing to interest expressed by my professors, members of the committee, who
encouraged me and rendered me their assistance and support.
I am honored to point out that this book is a part of the new edition of
Department of Musicology of the Faculty of Music, Belgrade. My work up to present
has been marked by my interest for Serbian church music. My previous researches,
focused at Serbian
monophonie
chant, principally at Octoechos (19th and the
beginning of 20th century) and medieval
musieř
were naturally followed by the
research of the church polyphonic chant On the other hand, there is a wide interest
in public for this matter, having in mind that church choral chant has rarely been
a subject of comprehensive and sound studies.
Tbereforeř
one can get acquainted
with, for example, works of some (eminent) composer, with analytic evaluations
of some particular piece, opus or genre, but hardly can get a complete picture of
this genre of Serbian music, which includes all of its varieties. For this reason, the
book From Angel Chant to the Choral Art presents numerous and complex levels
of "existence" of choral church music during the 19th and the beginning of 20th
century.
The book's title is focused on one of the most important issues of genre:
transfiguration of church service chant
-
from the reflection of celestial, angel
hymns (in conformity with principles of medieval poetry) to choral art (from
the standpoint of romantic poetry). Namely, in medieval times liturgical chant
was understood as a musical icon i.e. interpretation of heavenly chants which
cannot be heard or perceived by human senses. This basically biblical picture was
commented by many holy fathers, as for example Saint John the
Chrysostome:"Oh
gifts of Christ!.Up there: seraphyms sing a holy chant, down there
-
multiple of
people sing the same chant to God!"
During romanticism, church chant was viewed differently, especially the
choral ensembles chant, since one new, special request was posed to them: the
fulfillment of artistic tasks.
"Harmony chant" bared typical characteristics of the urban art: believers/
public listened to it in churches/concert halls, paying attention to the composer's
gift, beauty of choral sound, ensemble's refinement, conductor's skills and so many
other things. Under the Russian
influence¡
in Serbia too choral ensembles chant i.e.
artistic music was introduced into the church daily services chant. Linear system
replaced the medieval
"neum"
notation, reflecting thereby the change of the model
of musical thought, and creative poetics« There are many other indicators of this
change, presented in the book from various angles, for example through relation
of music with the wider historic, cultural and social context, through creative
contributions, performer's aspect,, reception issues etc.
,
341
I
Od
анђеоског појања
до хорске
уметности
Subtitle "Serbian Choral Church Music during the romantic period" defines
the field of research, both in essential and chronotopical manner.Term Serbian music
includes, not only creative work of Serbian composers, but also of composers of
other nationalities, who were engaged in Serbian singers'societies. I hereby primarily
refer to Czech authors who significantly helped the development of musical life in
Serbia, and its reaching a professional level. I chose the adjective "choral" instead
of "polyphonic" in order to emphasize the role of choral ensembles and complex
relations between performance and creativity in this period of Serbian music history.
Upon thorough consideration of many expressions I picked "Church Music"finding
it the most wide-spread. Alternatives were: sacral music, church services music,
liturgical music. In thechapter'DefinitionofTerms"! explained in details the terms I
used in the book. Finally, for the book's
titlel
used the word
"musiťMnstead
of "chant"
in order to emphasize the mentioned shift from chant to art.
Romanticism, very complex and significant for the Serbian music, covers
the period until the year
1914.
Namely, period from the fourth decade of 19th
century until
1914
is a coherent period in the development of choral chant. This
is the time when the church polyphonic chant was accepted and spread, when
first creative steps were taken, when the genre was defined, when some of the
brilliant pieces were created and finally, when future directions of Serbian music
were indicated. Symbolically, the end of the period was marked by the death of
Stevan
Stojanović
Mokranjac, one of the greatest and the most authentic Serbian
composers. Although romanticism occupies larger chronological frames, church
music composed after
1914
has different characteristics and therefore could hardly
be classified within this period.
Almost every composer of this period was engaged under church music
as conductor,
notifier
of
monophonie
chant or author of choral pieces. There are
hundreds of pieces: opuses (liturgies, masses, wedding songs etc.) isolated liturgical
hymns and holiday songs. Most of the compositions have never been published
and they are still kept as manuscripts. I shall leave analyses of all collected pieces to
some future studies, since it exceeds the subject of this book. I herein chose only a
number of pieces as examples, which I find representative.
While looking for manuscripts, I made the archival research lasting few
years. My work in municipal and town archives, libraries, manuscript departments,
private heritage, note-scripts of singers societies, church archives, museums in
Belgrade,
Zemun,
Kragujevac, Zrenjanin
,
Kikinda,
Vršac, Pančečvo, Novi Sad, Sofija,
Kotor
and many other towns reveled many new facts, which formed a solid base for
this book. I also indicated some of the errors, including errors in dating, and raised
thereby some new questions.
Starting my research I believed that a subject of a future study could be the
work of Serbian composers and composers of other nationalities who supported
Serbian music. I later accepted the attitude that history of composing should not
be equaled to musicologist analyses of this genre. Choral church music had many
functions, initiated or was engaged in various processes, and had a multiple impact
at Serbian culture. For this reason I undertook a problematically oriented approach
to presentation of this subject. I divided the potential narrative of a history of
342
._
Summary
church music into few parallel or interlaced lines. I titled the*m "moduses". Thereby
the core of the book is formed by the three modal parts: modus creatoris, modus
procedendi and modus
vivendi.
Modus creatoris is a chronological surnmaly of
church music works, with particular attention paid to composers other activities
-
conductorial, pedagogical etc. Modus procedendi is a result of
musréological,
partly
liturgological analyses of genre, while modus
vivendi
deals with performance,
pedagogy and works publishing issues.
Only by observing polyphonic relations of these modal lines, one may
reveal a clearer picture of birth and development of the genre, all of its roles and
meanings, not only within Serbia, but in comparison with other European countries,
especially Russia and Balkan states of Orthodox Christianity- Bulgaria,
Romania
and Greece.
Chapters preceding and following the modal analysis have different
functions: Preface, in the book's beginning, is a kind of prologue
-
holding facts
which are necessary for understanding of further text. Terminological issue
follows: relation of music with orthodox church service
is<
considered on one hand,
and aspects of genre of choral church music on the other. Historical arid social-
Cultural context is presented within the next chapter, but hot from the common
political history standpoint, but from the specific angle of church art, together with
methodological
postulation
of cultural semiotics.
In contrast to usual methodological conclusions/the text is not finished
with the results summary. In the Conclusion I present basics of comparative
researches of choral church music of the
1
9th Century Balkaneountries of Orthodox
Christianity, revealing much more similar elements than generally accepted. Of
course, all these national traditions are examined in comparison with the Russian
church music, which had a significant tying "function, since it initiated the choral
liturgical chant. In this way I indicated possible directions of future researches.
The book From Angel Chant to the
Chorai
Art is dedicated to diversified
public, from readers interested for culturology and history; musicians or amateurs
engaged in church choral singing; church representatives to music historians and
musicologists. They all shall find here useful and fresh insight in many topics. In
conformity with inter-disciplinary character of musicology, the results of presented
music researches are connected to topics from the domain of theology, liturgy,
dogmatics, church history as well as general history, philology, semiotics and art
science.
***
343 |
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| id | DE-604.BV035758388 |
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| indexdate | 2024-07-20T04:24:25Z |
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| series | Muzikološke studije - Disertacije |
| series2 | Muzikološke studije - Disertacije |
| spelling | Perković-Radak, Ivana Verfasser aut Od anđeoskog pojanja do horske umetnosti srpska horska crkvena muzika u periodu romantizma (do 1914 godine) Ivana Perković Radak Beograd Fak. Muzičke Umetnosti [u.a.] 2008 352 S. Ill., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Muzikološke studije - Disertacije 1 In kyrill. Schr., serb. - Zsfassung in engl. Sprache. - Zugl.: Belgrad, Univ., Musikwiss. Fak., Diss., 2005 Geschichte 1800-1914 gnd rswk-swf Kirchengesang (DE-588)4465564-2 gnd rswk-swf Chorgesang (DE-588)4147898-8 gnd rswk-swf Serbien (DE-588)4054598-2 gnd rswk-swf Serbien (DE-588)4054598-2 g Kirchengesang (DE-588)4465564-2 s Chorgesang (DE-588)4147898-8 s Geschichte 1800-1914 z DE-604 Muzikološke studije - Disertacije 1 (DE-604)BV035758371 1 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018618310&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=018618310&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Perković-Radak, Ivana Od anđeoskog pojanja do horske umetnosti srpska horska crkvena muzika u periodu romantizma (do 1914 godine) Muzikološke studije - Disertacije Kirchengesang (DE-588)4465564-2 gnd Chorgesang (DE-588)4147898-8 gnd |
| subject_GND | (DE-588)4465564-2 (DE-588)4147898-8 (DE-588)4054598-2 |
| title | Od anđeoskog pojanja do horske umetnosti srpska horska crkvena muzika u periodu romantizma (do 1914 godine) |
| title_auth | Od anđeoskog pojanja do horske umetnosti srpska horska crkvena muzika u periodu romantizma (do 1914 godine) |
| title_exact_search | Od anđeoskog pojanja do horske umetnosti srpska horska crkvena muzika u periodu romantizma (do 1914 godine) |
| title_full | Od anđeoskog pojanja do horske umetnosti srpska horska crkvena muzika u periodu romantizma (do 1914 godine) Ivana Perković Radak |
| title_fullStr | Od anđeoskog pojanja do horske umetnosti srpska horska crkvena muzika u periodu romantizma (do 1914 godine) Ivana Perković Radak |
| title_full_unstemmed | Od anđeoskog pojanja do horske umetnosti srpska horska crkvena muzika u periodu romantizma (do 1914 godine) Ivana Perković Radak |
| title_short | Od anđeoskog pojanja do horske umetnosti |
| title_sort | od andeoskog pojanja do horske umetnosti srpska horska crkvena muzika u periodu romantizma do 1914 godine |
| title_sub | srpska horska crkvena muzika u periodu romantizma (do 1914 godine) |
| topic | Kirchengesang (DE-588)4465564-2 gnd Chorgesang (DE-588)4147898-8 gnd |
| topic_facet | Kirchengesang Chorgesang Serbien |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018618310&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=018618310&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV035758371 |
| work_keys_str_mv | AT perkovicradakivana odanđeoskogpojanjadohorskeumetnostisrpskahorskacrkvenamuzikauperioduromantizmado1914godine |