Na raskršću Istoka i Zapada: o dijalogu tradicionalnog i modernog u srpskoj muzici (1918 - 1941)
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Veröffentlicht: |
Beograd
Muzikološki Inst. Srpske Akad. Nauka i Umetnosti [u.a.]
2009
|
| Schlagworte: | |
| Online-Zugang: | Abstract Inhaltsverzeichnis |
| Beschreibung: | In kyrill. Schr., serb. - Zsfassung in engl. Sprache u.d.T.: At the crossroads of the East and the West ... |
| Beschreibung: | 371 S. |
| ISBN: | 9788680639062 |
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Datensatz im Suchindex
| _version_ | 1804140790428991488 |
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| adam_text | САДРЖАЈ
ПРЕДГОВОР
...........................................................................................................11
Тема. Пролог
ИСТОК
-
ЗАПАД У ПОЛЕМИЧКОМ КОНТЕКСТУ
СРПСКЕМУЗИКЕ
.............................................................................................17
♦
Милоје Милојевић
и
„Србија
на Западу
.......................................................22
♦
Петар
Коњовић
и
питање
„неточне
и западне словенске
оријентације
........23
♦
Јосип
Славенски и
„уједињење западњачког
конструктивизма и
источњачког
интуиционизма
............................................................................24
♦
Сукоб поетике
„Европејаца
и поетике авангарде
...........................................27
♦
Космополитизм прашких
студената
и
„враћање основама
..........................28
Preludium
ПОЕМА ЗОРЕ
:
У ОСВИТ НОВОГ
ДОБА
Ораторијум Васкрсење Стевана Христића
(1912)......................................................35
♦
Премијера
....................................................................................................................35
♦
Реч
критике
.................................................................................................................46
♦
Одговор аутора
...........................................................................................................52
Fugetta
БЕОГРАДСКИ
КОНТРАСТИ
Експлозија
новина и
ехо
реакције
...................................................................................63
Варцјаццја
ηρβα
РАСКРШЋЕ СТАРОГ
И НОВОГ
ДОБА
Музички живот Београда
..........................................................................................81
♦
Опера и балет
......................................................................................................83
♦
Оркестарска и
камерна музика..........................................................................
93
♦
Хорска
музика
...................................................................................................101
♦
Проблеми
и
напредовање школства
................................................................106
♦
Борба
за квалитет
и борба
за
публику
............................................................
Ill
♦
Часописи
................................................................<........................................123
Варијација
друга
ПОЛЕМИЧКИ
КОНТЕКСТ
УМЕТНИЧКЕ ЕПОХЕ
.....................................
j«
♦
Којим
путем?
..............................................................................................
щ
♦
„Царским
друмомтрадиције
....................................................................
♦
Ka
новом преко порука древних предака
.................................................
♦
Спор
„старих
и „младих . Прича прва
...................................................
♦
Новим
стазама
-
ка природа, космосу и ка пределима ирационалног..ло
♦
У борбу против културе
грађанске
класе................................................
♦
Спор
„старих
и „младих у
српској
музици. Прича друга
....................
Варијација
трека
модЕРНизАМ у
српској
музици 195
Стилскараскршћа
(1918-1941)..............................................................................„„
♦
Раскршће
у
синхронији.
Година
1931...........................................................,.
♦
Стилско
раскршће четврте деценије
..............................................................,
♦
Раскршће
у
дијахронији
доминантног стилског тока
(1918-1941).............
♦
Укрштање
архаичног и модерног у делу Марка
Тајчевића
и
Јосипа Славенског
.......................................................................................
Codetta
,
УМЕСТО
ЗАКЉУЧКА
.......................................................................................
2
Stretto.
Шест кратких комада
ТАБЕЛЕ
I-VI
Oil
I
Музички ствараоци
.................................................................................... „
Π
Композитори
и
њихова
дела
..................................................................... ,„
ІП
Хронологијадела
.......................................................................................^5°
IV
Музичкосценска
дела
.................................................................................
^.
V
Вокална и вокалноинструментална дела
..................................................
λ,
А-Хорска музика
..............................................................................................
^
Б
-
Кантате,
ораторијуми,
хорови са
оркестром
.............................................
,¿
В-Рецитациони
хорови
....................................................................................
2
Г
-
Вокална
лирика
........................................................................................
VI
Инструментална
дела
..............................................................................
А-Симфонијскаиоркестарскадела
................................................................ 1.
Б
-
Концерти
и
концертантна
дела
....................................................................
В-Камерна
дела
............................................................................................268
Г
-
Клавирска
дела
....................... ....................
2б9
Теоријски
контрапункт
1 - 0
РАСКРШЋУ
Тезе
затеоријску скицу
...........................................................................................273
♦
Симбол
...............................................................................................................275
♦
Динамично
поље комуникације.......................................................................
276
♦
Смисао
комуникације
Момент одлуке.
Комуникација између
свести и подсвести.
Начело
дијалога
и
рекурзије............................................................................
276
♦
Интеракција субјеката
у
пољу раскршћа
........................................................279
♦
Раскршће
-
место сусрета
................................................................................280
♦
О минимуму услова
...........................................................................................286
♦
Раскршће
у делу. Дело у
раскршћу
.................................................................287
♦
Полифонија
индивидуалности
.........................................................................289
♦
Традиције
и стилови на
раскршћу
...................................................................290
2 -
РАСПРАВА О
ПОЈМОВИМА
О
дијалогу
„старог и „новог
................................................................................295
♦
Отрадицији
........................................................................................................296
♦
О
традицији
и националном
..............................................................................302
♦
О стваралаштву и
традицији
у контексту прихватаньа новина
.....................304
♦
О
традицији
и
прогресу
....................................................................................309
♦
О
традицији
и модерном
...................................................................................311
♦
О модерном и класичном и о спору „младих и
„старих
.............................314
♦
О модерном и авангардном
...............................................................................317
БИБЛИОГРАФИЈА
.................................................................................................325
SUMMARY
..........................................................................................................363
ИНДЕКС ИМЕНА.
............................................................................................367
AT THE CROSSROADS
OF THE EAST AND THE WEST
ON THE DIALOGUE BETWEEN THE TRADITIONAL AND THE MODERN
IN SERBIAN MUSIC
(1918-1941)
Summary
The result of many years of the author s research into European frameworks of
the Serbian music,1 the book focuses on the phenomena that initiated, provoked and sig¬
nificantly determined the development processes of Serbian music and musical life in the
decades between the two World Wars. The analyses in this study have been carried out for
the purpose of isolating and differentiating precisely those phenomena which, because
they played a major role in transcending earlier traditions and practices, exerted a vital
influence on the changes of the stylistic physiognomy of Serbian music. The comparative
analytical method
-
closely identifying relationships between innovation and tradition
-
is also the basic criterion for deriving various typologies, including those which moni¬
tor micro-changes within the structures of musical works, transformations of musical
style, and (more broadly) developmental tendencies within the creative trajectory of a
composer or a whole group of composers. Serving as a point of departure for systematiz¬
ing the results of historical, analytical and theoretical research, the relations old-new, tra¬
ditional-modern, national-cosmopolitan are also presented as the key to understanding
not only the typical features of Serbian music of the period in its local context, but also
the general characteristics of the lines of development of European art as its referential
context. The book analyzes also cultural communication and dissemination at the cross¬
roads of the traditional and modern age, elucidates aspects of the reception of innovation,
and identifies the specificities of processes of modernization, determined by the parallel
operation of cultural models (civic, petit-bourgeois and anti-civic).
The first version of this Summary appeared in electronic version of the International journal New
Sound (No.
24, 2004),
as the review of the doctoral dissertation (mentorship of full professor,
Mirjana
Veselinović-Hofman;
defended at Faculty of Music, Belgrade, in
2004);
the dissertation served as
иге
starting manuscript for this book. Having in mind the potential interest of the broader audience, the au¬
thor deconstructed the former global structure, profoundly revised the text and provided illustrations
from the legacies of the Institute of Musicology of the Serbian Academy of Sciences and Aits.
363
Seemingly structured as a mosaic, the text of the book is realized by leading sev¬
eral principal ideas polyphonically through all chapters which represent methodological
variations of the central theme.
I. The Theme. Prologue. The East and the West in the Polemical Context of
Serbian Music. Functioning as a preface for reviewing the polemical idea of an epoch
at the crossroads of tradition, modernism and the avant-garde, the first chapter describes
the creative orientation of
Miloje Milojević, Petar Konjović
and
Josip Slavenski
as the
key figures of the epoch, indicates their choice of an Eastern or Western orientation, and
explains the antagonism between the poetics of the group of Europeans and the repre¬
sentatives of avant-garde trends.
П.
Preludium, Poem
of the Dawn: The Sunrise of the New Age. Continuing the
debate on the
interpénétration
and synthesis of East and West in Serbian art music, the
section dedicated to the reception of Stevan
Hristić s
oratorio Vaskrsenje {Resurrection,
1912)
offers a portrait of musical life in Belgrade on the eve of World War I, indicates
the initial stylistic position of key figures at the time, and (by introducing an exhaustive
account of the polemic occasioned by the performance of the first oratorio in Serbian
music) points to the level of critical awareness of music during this period.
Ш.
Fugetta. Belgrade Contrasts. An Explosion of Innovations and Echo Re¬
actions. The third chapter discusses the phenomenon of fashion, mass culture and music
as its segment, the altered social status of women musicians, as well as the expansion of
the field of cultural communication due to the appearance of new media
-
radio, film and
records.
IV. Variation I. The Crossroads of the Old and the New Age. Musical Life in
Belgrade. Variegated, dynamic and full of sharp contrasts, the mosaic of information on
the character and the effects of modernization processes in Belgrade s culture between
the two World Wars is then completed by a description of the reforms that occurred in
the organization and physiognomy of cultural life. Special attention is paid to the found¬
ing of cultural institutions, the education of Serbian musicians abroad, the sojourns and
guest performances of foreign musicians in the Serbian milieu, the repertoire policy,
the patterns of critical of reception, and the articles on music published in professional
magazines. The presentation of data on the evolution of the national opera and ballet,
orchestral, choral and chamber music, on the importance and development of the music
educational system, as well as on the role of professional magazines in broadening the
horizons of the reading audience, runs uninterruptedly parallel to a discussion of the mo¬
ments when innovations were introduced into the artistic practice and an attempt to draw
comparisons with literature and the fine arts.
V. Variation II. Polemical Context of the Epoch. A debate on the issue of Ser¬
bian national art s development strategy following World War I, conducted from stand-
364
points
pro et
contra
Europa,
is the subject of the fifth chapter. By analyzing and sys¬
tematizing poetical, aesthetic and ideological views of composers, writers, painters and
critics, special attention is paid to polemical dialogues and disputes wherein changes in
the approaches of national art towards Europe, whether East or West, are most clearly
manifested.
VI. Variation III. Modernism in Serbian Music. Stylistic Crossroads. Identify¬
ing changes in the structure and expression of musical discourse, perceiving the specifici¬
ties of the stylistic transformation of Serbian music, distinguishing the dominant from the
incidental patterns of its development, and following the shifts of focus in the genre of
the period are the methods employed for analyzing the problem of the stylistic crossroads
in Serbian music between the two WW in the sixth and the officially final chapter of
the book. By broadening the perspective from the
synchronie
plane {Crossroads in Syn¬
chrony. Year
1931)
to the diachronic (Stylistic Crossroads of the Fourth Decade and The
Position of the Crossroads in the Diachrony of the Dominant Stylistic Trend. The Period
from
1919
to
1941)
and by reviewing the relationship between the archaic and modern
components of musical expression in the works of J.
Slavenski
and M.
Tajčević,
the au¬
thor presents an image of a stable stylistic crossroads as a stylistic constant that situates
the Serbian music between the two World Wars along all the lines of its evolution within
the framework of modernism. A short section titled Instead of the Conclusion rounds the
main corpus of the book.
VII. Stretto.
Six Short Pieces. The Tables. Because of the size of the analyzed
material (the book examines over
150
works of
29
composers), the main text brings
only the results obtained through material processing. The key connectives in reviewing
the relevance of the results are the tables that, albeit provided in the Appendix, bring a
selection of characteristic compositions and are essentially a specific anthology of the
representative works of the musical epoch between the two World Wars. The physiog¬
nomy of the tables, originating in the methodological premises of the research, provides
an accurate direction for reading this period in the history of Serbian music using dif¬
ferent criteria.
VIII.
Theoretical Counterpoint. Two theoretical chapters are added at the very
end of the publication. They bring the results of the research on phenomena which were
the key to understanding of the rapid and specific processes of the transformation of Ser¬
bian music towards modernism.
1)
About the Crossroads. The concept of the crossroads
is the central concept of the book. Resulting in the formation of a general model of types
of creative communication, the theoretical discussion of crossroads is based on analyz¬
ing the key concepts of comparative and
semiotic
theoretical systems (communication,
dialogue, dynamics of an amistk phenomenon, horizon of expectation, influence). Apart
from discussing the crossroads as a point of convergence wherein individual creative
communication
is initiated, this section also treats of traditions and styles at the cross¬
roads, as well as the hermeneutic circle as a unique crossroads at the centre of which is
the work.
2)
A Debate on Terms. On the Dialogue of the Old and the New. The dialogic
context of European art is the subject of a theoretical analysis initiated with the aim of
systematically presenting relevant theoretical views on tradition, the classical, the mod¬
ern, the avant-garde, the national, a debate on the old and the new and on the problem
of progress in art. This debate served as a platform on which a typology of Serbian music
between the two World Wars has been presented.
366
|
| any_adam_object | 1 |
| author | Tomašević, Katarina |
| author_facet | Tomašević, Katarina |
| author_role | aut |
| author_sort | Tomašević, Katarina |
| author_variant | k t kt |
| building | Verbundindex |
| bvnumber | BV035829075 |
| classification_rvk | LQ 87800 |
| ctrlnum | (OCoLC)643405240 (DE-599)BVBBV035829075 |
| discipline | Musikwissenschaft |
| era | Geschichte 1918-1941 gnd |
| era_facet | Geschichte 1918-1941 |
| format | Book |
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| geographic | Serbien (DE-588)4054598-2 gnd |
| geographic_facet | Serbien |
| id | DE-604.BV035829075 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-09T22:05:34Z |
| institution | BVB |
| isbn | 9788680639062 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-018687654 |
| oclc_num | 643405240 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 371 S. |
| publishDate | 2009 |
| publishDateSearch | 2009 |
| publishDateSort | 2009 |
| publisher | Muzikološki Inst. Srpske Akad. Nauka i Umetnosti [u.a.] |
| record_format | marc |
| spelling | Tomašević, Katarina Verfasser aut Na raskršću Istoka i Zapada o dijalogu tradicionalnog i modernog u srpskoj muzici (1918 - 1941) Katarina Tomašević Beograd Muzikološki Inst. Srpske Akad. Nauka i Umetnosti [u.a.] 2009 371 S. txt rdacontent n rdamedia nc rdacarrier In kyrill. Schr., serb. - Zsfassung in engl. Sprache u.d.T.: At the crossroads of the East and the West ... Geschichte 1918-1941 gnd rswk-swf Klassische Musik (DE-588)4164043-3 gnd rswk-swf Serbien (DE-588)4054598-2 gnd rswk-swf Serbien (DE-588)4054598-2 g Klassische Musik (DE-588)4164043-3 s Geschichte 1918-1941 z DE-604 Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018687654&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018687654&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Tomašević, Katarina Na raskršću Istoka i Zapada o dijalogu tradicionalnog i modernog u srpskoj muzici (1918 - 1941) Klassische Musik (DE-588)4164043-3 gnd |
| subject_GND | (DE-588)4164043-3 (DE-588)4054598-2 |
| title | Na raskršću Istoka i Zapada o dijalogu tradicionalnog i modernog u srpskoj muzici (1918 - 1941) |
| title_auth | Na raskršću Istoka i Zapada o dijalogu tradicionalnog i modernog u srpskoj muzici (1918 - 1941) |
| title_exact_search | Na raskršću Istoka i Zapada o dijalogu tradicionalnog i modernog u srpskoj muzici (1918 - 1941) |
| title_full | Na raskršću Istoka i Zapada o dijalogu tradicionalnog i modernog u srpskoj muzici (1918 - 1941) Katarina Tomašević |
| title_fullStr | Na raskršću Istoka i Zapada o dijalogu tradicionalnog i modernog u srpskoj muzici (1918 - 1941) Katarina Tomašević |
| title_full_unstemmed | Na raskršću Istoka i Zapada o dijalogu tradicionalnog i modernog u srpskoj muzici (1918 - 1941) Katarina Tomašević |
| title_short | Na raskršću Istoka i Zapada |
| title_sort | na raskrscu istoka i zapada o dijalogu tradicionalnog i modernog u srpskoj muzici 1918 1941 |
| title_sub | o dijalogu tradicionalnog i modernog u srpskoj muzici (1918 - 1941) |
| topic | Klassische Musik (DE-588)4164043-3 gnd |
| topic_facet | Klassische Musik Serbien |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018687654&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=018687654&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT tomasevickatarina naraskrscuistokaizapadaodijalogutradicionalnogimodernogusrpskojmuzici19181941 |