Vokalna tradicija Jasenice u svetlosti etnogenetskih procesa: = Vocal tradition of Jasenica region in view of ethnogenetic processes
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
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Beograd
Muzikološki institut SANU
2014
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| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | 737 Seiten Notenbeispiele, Karten |
| ISBN: | 9788680639147 |
Internformat
MARC
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| 100 | 1 | |a Jovanović, Jelena |d 1964- |e Verfasser |0 (DE-588)1112048316 |4 aut | |
| 245 | 1 | 0 | |a Vokalna tradicija Jasenice u svetlosti etnogenetskih procesa |b = Vocal tradition of Jasenica region in view of ethnogenetic processes |c Jelena Jovanović |
| 246 | 1 | 1 | |a Vocal tradition of Jasenica region in view of ethnogenetic processes |
| 264 | 1 | |a Beograd |b Muzikološki institut SANU |c 2014 | |
| 300 | |a 737 Seiten |b Notenbeispiele, Karten | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 546 | |a Text serbisch, Zusammenfassung in englischer Sparche | ||
| 546 | |b Kyrillische Schrift | ||
| 650 | 0 | 7 | |a Vokalmusik |0 (DE-588)4063783-9 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Musikethnologie |0 (DE-588)4127833-1 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Volksmusik |0 (DE-588)4063854-6 |2 gnd |9 rswk-swf |
| 651 | 7 | |a Jasenica-Gebiet |0 (DE-588)4533803-6 |2 gnd |9 rswk-swf | |
| 689 | 0 | 0 | |a Jasenica-Gebiet |0 (DE-588)4533803-6 |D g |
| 689 | 0 | 1 | |a Vokalmusik |0 (DE-588)4063783-9 |D s |
| 689 | 0 | 2 | |a Volksmusik |0 (DE-588)4063854-6 |D s |
| 689 | 0 | 3 | |a Musikethnologie |0 (DE-588)4127833-1 |D s |
| 689 | 0 | |5 DE-604 | |
| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029138185&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |3 Inhaltsverzeichnis |
| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029138185&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |3 Abstract |
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| 943 | 1 | |a oai:aleph.bib-bvb.de:BVB01-029138185 | |
Datensatz im Suchindex
| _version_ | 1812717150935187456 |
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| adam_text |
CAflP)KAJ
YBOfl.9
M 3 B O p M.13
M e T o fl e.19
JACEHMU.A: TEOrPAOCKO nOflPYHJE M ÜOPEKTTO CTAHOBHMIIITBA. 27
Teorpa^CKo noflpynje.27
floce^aBaita m cacTaB cTâHOBHMiiiTBâ.32
npernefl caCTaßa craHOBHMiHTBa Hacera Jacemnje npeMa H eroBOM
nopex^y.34
CmapUHUfU (38); Mmepcne ceoöe (41); Yhympauiwe
MuepaUfUje (41)
flocejbeHMHKe crpyje y JaceHMi^M. 42
ffmapcxa cmpyja (44); KocoecKO-Memoxujcm cmpyja (47);
UIoncKa unu mopnauKa cmpyja (49); Mopaßcico-eapdapaca
cmpyja (50); TUMOuKO-ôpanmeôCKa cmpyja (53)
IIpoijecM Meî)ycoÔHor npnjiaroI)aBaH a rpyna CTâHOBHMiiiTBâ.54
KoHCTMTyMcaite HOBor „eraHHKor aManraMa“ .58
PE3yjITATM ETH07I0HIKMX M JIMHrBMCTMHKMX MCTPA)KMBAH A
Y JACEHMIÍM.60
Pe3yjiTaTH eTHOjioniKMX MCTpa^ußaiba.60
OnniTe ocoÓMHe npeflena m (60) .60
IloflauiM o HapoflHMM oÓMHajMMa (64).64
Oóunaju 2odutuwe3 v^UKJiyca u nojeduna napodua eepoeawa (66);
Oóunaju Mueomnoe yuKnyca u nopoduHuux ceemKoeuna:
ceadóa, oóunaju ee3anu 3a CMpm u nocpeó, oiaea (Vl^ffpyeu
oóunaju - npeeo3 doóapa (76).
Pe3yjITâTM TIMHrBMCTM^KMX MCTpaXMBâH»a
77
TPAflMLtMOHAJIHO TIEBAEbE Y KOHTEKCTY: OEPEflHA TIPAKCA M
CBAKOflHEBHM )KMBOT.87
OöpeflHe necMe.*. 89
IlecMe roflMimfeer u;MK;iyca. 89
IlecMey epeMe ceemKoeawa Eoncuha (89); Ylecuey nponehuoM
u,UKnycy oöpeda u oöunaja (91); Uecuey nemweM u,UK7iycy
oöpeda u oöunaja (93)
riecMe KMBOTHor ipnoiyca u nopo^MMHMx CBeTKOBMHa.95
flecMe HüMewene dei^u (95); Ceadöene necMe (96); Tyncewe (Kyxawe,
3aneeawe) (100); Cnaecxe necue (101)
HeoöpeßHe necMe. 103
üecue y3 nocnoee (103); JlecMe Koje ce neeajy y pa3nunumuM
npunuKaMa (114).
KAPAKTEPMCTMKE BOKAJIHE TPAflPlLJMJE JACEHMIJE.123
MejionoeTCKa aHajiMäa.123
Omx.123
OÖJimjH.125
MonomeMamcKu npunu.un (126); BumeMamcKu npum^un (130);
nonumeMamcKu npuni^un (132).
Pe |)peHM .133
npemneenu (133); Yneenu (134); Tlpuneenu (134);
KoMÖunoeaHU (135).
TOHCKM HM30BH. 137
3anucu JbyöuuKa Mu/bKoeuha u npoöneu udeumu$uKoeawa
moHCKux eucuna (137); Tonace cmpyKmype cmapuje mpabuu,uje
mflowe facenuiie npema cucmeMy JJanueny - MuibKoeuh (139);
Tohcku HU306uy Jacenut^u (141); Hu3oeu y jeduoznacnuM u
beoenacuuM necMaMa cmapuje mpadui^uje (148); Hu3oeuy
beoenacuuM - xmöpm^hmm oönuu,uMa u necMaMa Ha 6ac (149);
npouene moncKoz HU3a y moKy ucme necue (153)
KafleHije.156
ConucmuHKo neeawe (156); Fpynno neeawe cmapuje mpaduu,uje
(159); XMÖpMflHM oönuu,u u necMe Ha 6ac (162)
MeTap h ppiTaM.166
JeftHomac m o6nmj,w ^Boniaca.169
OcoöeHOcm M3Bol)eH a.176
MejioftMjcKH MOftejiH.184
MeTO^HjcKM MOfle;iM 3acTyn^ eHM y ijenoj 06/iacTM.188
MenodujcKu Moden I - Moden ceadöeuux necaMa (188); MenodujcKu
Moden II - Moden ceadöeuux, cnaecxux u npencKux necaMa (190);
MenodujcKu Moden III - Moden ceadöeuux u npencKux necaMa (193);
MenodujcKu Moden IV - Moden ceadöeuux, cnaecKux, npencxux u
nupCKUX necaMa oniume naMene (196); MenodujcKu Moden V -
6
Moden MemenaHKUX necaua (200); MenodujcKu Moden VI - Moden
conucmuHKux nymnuHKUX necaMa (201); Menodujcm Moden VII -
Moden necaMa pa3nux ncanpoea (yyo6pednu znac“) (202); MenodujcKu
Moden VIII - Moden encKux u npuno ednux necaMay „dunapcm
eapujemem“ (206); Menodujcm Moden IX - Moden KyicaH a /
3aneBaH»a (207)
MejioflMjcKM MO^enM KapaKTepMCTMHHM 3a IbpH y Jacemiuy.208
MenodujcKu Moden X - Moden necaMa na znac / epcKor neeawa
(208) ; Menodujcm Moden XI - Moden ceamoecKOz pyumiHKor enaca
(209) ; Menodujcm Moden XII - Moden KpcmonoiuKux necaMa (209);
Menodujcm Moden XIII - Moden npeneBKM u öpojemiija (210);
Modenu necaMa naMeuyenux deu,u u denujux pa36pajanuuta (211)
MeTiOftHjcKM MOflejm KapaKTepiicraHHM 3a floay JaceHMuy.213
Menodujcm Moden XIV - Moden Konedapcmx necaMa (213);
Menodujcm Moden XV - Moden poMcmx na3apmmx u dodoncmx
necaua (214); Menodujcm Moden XVI - Moden Kpa/bUHKe necMe
(214); Menodujcm Moden XVII - Moden man ußux npunoeedmx
necaMa (215); Modenu necaMa naMewenux deu¡u (216)
flpym MenoftMjCKM MOfle;m.218
Menodujcm Moden XVIII - Ocy ce ne6o 36e3daua (218); Moden XIX
- necMe y maicmy 5/8 (219).
Modenu xwópjíftHMx oónuKü u necaMa na 6ac.219
IIoceÓHocTM BOKaiiHe TpaAMii¡Mje Topite m floite
JaceHMi^e.225
ToHCKM HM30BH . 226
Pa3ÄMMMTM acneKTM oó/mica Meno^njcKPix Mop,e7ia.232
Kaflemje . 236
On3noHOMMje Me/ioflMjcKwx MO^ejia y pa37iHwmM KaHpoBMMa.238
JeflHoniac w/m flBorziac w Ha^MH M3Bol)eH a.243
MEJIOflMJCKM MOflEJIM M flPYTM CTPYKTYPHM EJIEMEHTM BOKAJIHE
TPAflMIJMJE JACEHMIJE YIIIMPEM TEOrPAOCKOM M flMJAXPOHMJCKOM
KOHTEKCTY.251
MenoflMjcKM Mo^eiiM 3acTynjbeHM y ij e /i o j o 6 ti a c t w254
MenoflMjcKM MO^e/i I.254
MenoflMjcKM MO^e/i II .258
Me/ioflwjcKH Moflen III.262
MeTio^MjcKM Moflen IV.265
Me/ioftwjcKw Mocera V m VII (^ceTenanKe necMe).268
MenoawjcKM Moflen VI .271
MeTioflwjcKH MO^e/i VII (pa3nMHMTM KaHpoBn).272
Me/ioflwjcKM MO^e/i VIII.274
MeTioflwjcKM MOße/i IX.275
MejioflwjcKii MOflejiMKapaKTepMCTMMHM 3a TopH y
JaceHMi^y.277
7
Me/ioßwjcKM Moflea X .277
MejioflwjcKM Moflen XI .278
MenoflwjcKM Mo^en XIII .279
MeTIOflMjCKM MO^eilM KapaKTepMCTMHHM 3a fl o h y
JaceHMijy.280
Meno^MjcKM Mo^eji XVI . 280
Moflejiw oöpeßHMX necaMa ropniH,er u¡MKHyca .282
MenoflHjcKM MO^eTi XIV.282
CjaKaH e .,.282
MeTioflHjcKM mo Ren XV. 283
Me7ioflwjcKK Moflea XVII.283
flpyrn MenoflMjcKM Mo^enn.284
Modenu necaMa naMewenux dei^u u óoncuhnux necaMa (284); Moden
necMe Ocy ce Heóo 3Be3ßaMa - „3anaöna eapujawna“ (287); Moden
necaMa y manmy 5/8 (287)
O TeKcxyajiHoj KOMnoHeirm necMe Hutunyna ce 3 e3da.288
3AK7LYHAK.291
CTapMHaHKe u, p t e.296
floniJbâHKe ij p t e.298
ETieMeHTM fl¡MHapcKe Boicame TpaflmjMje.298
EneMeHTM KocoBCKo-MeToxujcKe ceocKe BOKaTiHe TpaflMijMje.301
EneMeHTM BoicaTme TpaßMijMje mctohhc m jyrowcTOHHe Cpówje.302
EaeMeHTM KojM ynyhyjy Ha Be3y ca B7iamKOM BOKaHHOM Tpa^Mi^njoM m
ezteMeHTM Koje cy ÆOHe/m Pomh. 303
IJpTe pa3BMjeHe Ha TepeHy JaceHMi^e ojs, BpeMeHa
MHTeH3KBHMx HacejtaBaiba Æo pHac.303
U,pTe HacTa^e Kpucmanu3au,ujoM Metuaeune pa3Hopo#HHx e^eMeHaTa 303
IIpTe Koje cy ce pa3BMne y HOBPije BpeMe, He3aBwcHO ofl paHnjux
npoqeca.305
JIMTEPATYPA.311
VOCAL TRADITION OF JASENICA REGION IN VIEW OF ETHNOGENETIC
PROCESSES (Summary).343
nPMfl03M.353
ripMTior I: T a 6 e ;i e .♦.355
ITpuHor ILKapTe.373
KapTe I (1-4): ÜOTioacaj, CTaHOBHwiHTBO u roBOpw laceHMije.373
KapTe II (1-13): My3HHKe M3or/ioce y lacemmH.379
KapTe III (1-6): KapaicTepMCTMHHM MeTOflwjcKH Mocera y nmpeM
reorpa J»CKOM KOHTeKCxy.395
ripMHor III: Hothm npHMepn m3 J a c e h hij e (1-285).403
ripunor IV: Hothm npmmepm m3 Apymx o6;iacTM (1-22) 713
8
Jelena Jovanovic
VOCAL TRADITION OF JASENICA REGION
IN VIEW OF ETHNOGENETIC PROCESSES
Summary
Jasenica is a geographical entity in Sumadija, central Serbia, where, to-
gether with the adjoining regions of Gruza and Lepenica, it occupies a central
position (see the Map 1/1, p. 375). It was named after the 79-kilometer long
river which springs from the region of Rudnik mountain, flowing towards
the east and north-east and into Velika Morava in the vicinity of Smederevs-
ka Palanka. The area covered by the settlements in the region occupies some
1,350 km2, while the size of the population, according to the 2002 Census,
amounts to about 156,000.
The region is open the south, north, and north-west, there being no nat-
ural boundaries. Throughout history, it has been intersected by important
communication lines, and since the Middle Ages it has always been the venue
of perpetual migrations and migration streams. There are also numerous top-
onyms testifying to the presence of an indigenous population in the area. The
current ethnical physiognomy of the area was formed during the period of
the Serb uprisings against the Ottomans at the beginning of the 19th century,
when Sumadija, being a free territory, attracted settlers from non-liberated ar-
eas. Such migrations were intense, sometimes even massive (see the directions
of the migrations on Map 1/2, p. 376).
The area of Sumadija and central Serbia is one of the most pronouncedly
metanastasic (a term used by J. Cvijic, meaning change of residence) regions
in the Balkans, being simultaneously an area of transition between spacious
areas with a predominantly Dinaric population, and with others. This descrip-
tion also relates to Jasenica: an imaginary line dividing these regions crosses
its territory. The road leading from Mladenovac to Kragujevac via Topola is
taken as the metanastasic border. To the west lies the upper part of the region,
Gornja Jasenica, whereas Donja Jasenica is located to the east. The given tables
(Tables 1-5, p. 357-360) present the ratio of households of different origins
343
BoKanHa xpa/iHunja laccmmc y cneraocTU eTHoreHeTocux npoucca
in the villages of both sub-regions. The predominant population in the area is
one whose ancestors moved from Dinaric regions. Westwards from the afore-
mentioned border, Dinaric settlers form an absolute majority. Even though
they are also predominant east of the border, there is a significant percent-
age of members of other streams. In second position in terms of numbers are
members of the Kosovo-Metohija stream, who are more numerous in Donja
Jasenica. There is also a pronounced presence of the population group consid-
ered to be indigenous. Representatives of other streams are considerably less
numerous. The composition of the population in Gornja Jasenica is presented
in Table 3 (p. 358). The Dinaric population forms an absolute majority, in nu-
merous villages comprising more than 90%, with just a few settlements as an
exception. The composition of the population in Donja Jasenica is presented
in Table 4 (p. 359). The Dinaric population is still the majority, but there is
also greater diversity in the origins of the population.
According to the oral tradition of the 19th century, the area was divided
into “real” Sumadija, with the prevailing Dinaric population with the “south-
ern” dialect (nowadays the east-Herzegovina or Herzegovina-Krajina dialect)
and Morava, inhabited by a population of different origin. Locally, emic desig-
nation of the population of the eastern and western areas of the region has
been maintained until the present day. The population of Gornja Jasenica call
members of the eastern parts of the region “Bugarasi” or “Bugari”, whereas
people from Donja Jasenica use the term “Erci” or “Ere” for the population of
the western part of the region.
This paper is a synthesis of all data and knowledge about the vocal
tradition of Jasenica available to the present day. The approach applied was
interdisciplinary, including knowledge from the areas of history, ethnology,
and linguistics, i.e. dialectology. The ethnomusicology materials which served
as a base for the paper were gathered mostly by ethnomusicologists (M. Vasil-
jevic, M. Ilijin, Lj. Miljkovic, P. Vukosavljevic, J. Jovanovic), and students of
ethnomusicology (M. Lazarevic, S. Stankovic, M. Novakovic; see the Map
III/1, p. 397). The materials were mostly recorded by Miljkovic and Jovanovic.
Ljubinko Miljkovic conducted large, systematic ethnomusicological research
in the 1970s and 1980s and published most of the materials in the music col-
lection Donja Jasenica (Mna,KOBuh 1986). Jovanovic collected materials in the
1980s and 1990s as well as at the beginning of the 21st century. This paper is
based on the selection of available materials, and the area treated comprises 62
out of the total number of 76 urban and rural settlements.
The available historical and ethnological literature is of great importance
for establishing a contextual base for this paper. Ethno-linguistic, i.e. dialec-
tological research, has provided very important assumptions and conclusions,
which are of great assistance. I take these results into consideration in view of
the fact that forms of traditional musical expression need of necessity to be re-
garded as part of general spiritual culture, and the principles and experiences
344
Summary
of an ethno-linguistic methodological approach are applicable to ethnomusi-
cology materials.
Works by eminent linguists confirm that the boundary between Sumadi-
ja-Vojvodina and Smederevo-Vrsac dialects also passes though the area of
Jasenica, in the northwest-southeast direction, close to the line to the metan-
astasic border. In the upper part of Jasenica the Sumadija-Vojvodina dialect
occurs, whereas the Smederevo-Vrsac dialect prevails in the settlements of
Donja Jasenica (see the Maps 1/3 and 1/4, p. 377, 378).
The significance of the results of dialectology studies in the area of Cen-
tral Serbia and Sumadija, and, especially, the significance of relevance of
historic dialectology for my research, may be observed in the fact that the
researchers in this region confirmed the presence of the so-called kanovacki
accent. This is one of the most important properties of the dialect of the area
originating from the pre-migration (before the 15th century) period - the di-
alect of the indigenous population. The linguistic finding is that this property
of the language originated from the area and has managed to survive right up
to the present day (Ivic / Mmih 1955-1956: 113; Bosnjakovic / Bomif aKOBPih
2008: 255), clearly separated from other linguistic speech properties brought
from other areas through migrational trends. If dialectologists findings are
interpreted in relation to musical phenomena in the field, we encounter ex-
ceptionally inspiring material.
The fact that until some ten years ago it was possible to find archaic ex-
amples of the vocal music tradition in the villages of Jasenica creates a base
for an attempt to reconstruct the older styles of vocal expression in the area.
There is a firm assumption that, due to the absence of significant changes in
the manner of rural life over a long period of time, old singing has had a
continual existence at least from the end of the 18th and beginning of the 19th
centuries. This is corroborated by the results of Slavic research of the so-called
‘Moscow school of ethno-linguistics' (representatives: N. Tolstoi / H. Tojictom,
A. Plotnikova/ A. IlnoTHnKOBa, A. Sobolev / A. Codones) which indicate that
the territory of Central Serbia, with Polesie and other sites, was characterized
as one possible “archaic Slav region” (Tolstoi / ToncToj 1995: 71-18).
Based on ethno-musicological, but also dialectological materials, it ap-
pears that Jasenica is the border zone of larger areas of traditional spiritual
culture. It represents their periphery - the area in which they meet and inter-
twine, or, in some cases, where some element of either of them prevails over
the other. At the same time, it is also a territory of transition between cultural
areas. Thus, like other such areas, it is characterized by a plentitude of unique
local structural and stylistic properties.
The issue of the influence of migratory trends on various aspects of tra-
ditional spiritual creativity has been treated relatively rarely in Serbian liter-
ature in the area of humanities. So far, the only comprehensive study on the
topic of comparative research of ethno-genesis and music in Serbia, the initial
345
BoKanHa Tpa^Mijiija JaceHmje y CBeraocTM eTHoreHeTCKwx npoijeca
role model for this paper, is the study of Dragoslav Devic (1990). This paper
follows the comparative typological and comparative historical approaches,
according to principles addressed by Boris Putilov (ITyra/iOB 1972) and Izaly
Zemtsovsky (3eMiiOBCKWM 1969, 1972, 1990), corresponding to research in
the area of historic dialectology in central Serbia and Sumadija (MbmIi 1955-
1956; PeMerah 1985; BoniH aKOBnh 2008), including experiences and prin-
ciples developed by scientists from the ‘Moscow school of ethno-linguistics’.
It is based on the notion of the dialect properties of regional cultures, which
means that both language and music traditions of a culture are elements of
ethnic or cultural type, which “must rely not on one or several different prop-
erties, but on a whole complex of properties, a whole code area’, in which each
indicator is assigned by its localization” (ToncToj 1995a: 23; also see: Todor-
ovic 2008). This is the way to materialize the “possibility that certain dynamic
of development, certain historic sequence or even evolution process within
this or that area is established for a whole range of phenomena, blocks of the
language system, or even the system as a whole” [.] “The area characteristics
of the phenomenon, form, etc. presented on the linguistic (resp. ethnological)
[resp. ethno-musicological, note by J. J.] map or provided in any other man-
ner are exceptionally important, as well as records of the mutual relationship
of indicators in the area of correlation between the centre and periphery, firm
and torn areas and micro-areas, their dispersion, etc.” (ToncToj 1995a: 34-35).
Bearing in mind that for this paper methods used for linguistic research
had to be applied to materials of a different type (musical material), the main
principles in the analytical approach, with the possibility of diachronous obser-
vance of phenomena in the musical structure, were adopted from the ethnomu-
sicological work of Vladimir Goshovskii (IbniOBCKnii 1971). In Serb ethnomu-
sicology, these principles were anticipated by Dragoslav Devic, speaking about
“music isoglosses” (2002). The book on the connections between ethnogenesis
and music on the territory of Jasenica is one of the first synthetic domestic piec-
es of work on this topic (see also: Jovanovic / JoBaHOBwh J. 2012).
The mapping technique follows the principles explained so far firstly by
linguists, and then ethnomusicologists, who developed the notion and methods
of melogeography (Goshovskii 1971; Pashina 2012), a counterpart to ethnolin-
guistic geography. Thus, the recorded materials from the field and areas of distri-
bution of their elements are subject to melogeography as part of the geographi-
cal aspect of ethnomusicological research, necessary to “determine the streams
of settling migrations and sequence of assimilation, as well as for historical and
ethno-genetic conclusions” (IbinoBCKMn 1971: 20), with strong reliance on fa-
miliarity with the context in which these elements are expressed. To this extent,
the paper is supplied with an appendix of several melogeographic maps which
indicate certain regularities, based on which it is possible to pass certain as-
sumptions and conclusions. During research, the principles applied were hori-
zontal - spatial, and, whenever the materials provided sufficient data to allow
346
Summary
for it, vertical - temporal. In these terms, the following quotes are exceptionally
inspiring: “the dialects of a language are its diachrony, dispersed in space” and
thanks to mapping it is possible to reveal *a whole range of chronologically
different parts of the national cultural tradition”, that it is possible to identify
various level of expressed age, and well as novelties in tradition (ITiOTHMKOBa
2004:18; also see: Tojicroj 1995:13 and Footnote 1).
*
The materials collected in Jasenica indicate that the older vocal tradition
in the west and in the east of the region differ considerably. Depending on
the place of recording, in the west-east direction, with a region of transitional
phenomena, the features of various dialects belonging to the older vocal layer
are most frequently clearly separated. There are also numerous forms of their
symbiosis, which provide a relatively heterogeneous image of vocal tradition
in an area so small in terms of space. This is why the starting point for this
treatise was the constant items upon which the overall image of the music her-
itage rests, with an emphasis on the older tradition. It was observed that one
of the constants of the vocal tradition are characteristic melodic models which
clearly indicated specific features of the tradition in the west, that is, east part
of Jasenica. The other parameters of musical structure - tonal sequences, types
of two-part singing, one-part singing, melo-poetic forms, genres, etc. - are not
suitable as sorting criteria, as they provide a very versatile and unequal image.
For the purposes of the treatise, the melodic model (MM) was treated
in the light of the creative function of the melodic pattern (Serb. glas). The
main criteria to define the MM are as follows: the same or very similar met-
ric-rhythmic picture, the same distribution of accents in the text and melody,
which in most cases, though not as a rule, originates from the same versifica-
tion, and, finally, the same or similar melodic contour. The MM is represented
by the music score; however, the possibility of variations in melody, and some-
times even in rhythm, is implicit.
Further, the MM may also imply a range of melo-rhythmical formulas
(motifs) which are, in a creative manner, applied in various (formal) melo-po-
etic units. In such cases, it is not possible to present all MM varieties in just
one music score, as it is also not possible to establish a single metric-rhythmic
base, but it is necessary to point to the occurrence of common motif cells (this
approach is complementary to the findings of Russian scientists, see: rtainrma
2003). An important indicator of the correctness of this approach lies in the
fact that various musical forms are united under common emic terms, such as
in the spinning songs in Donja Jasenica (prelski, preljacki, prelacki), where the
same melo-rhythmic formulas are used creatively together with verses of dif-
ferent versification. By this I support the opinion that the plentitude of variety
and liberties in combining the same motifs testifies to their long-term success
in live performances on the given territory (JoBaHOBwh J. 2011).
The MMs taken for this work were selected on the criterion of frequency
of occurrence in the given territory. There are nine MM described as constants
347
Boica;iHa Tpaflmjwja JaceHnqe y cbcthoctm exHoreHeTCKMx npoijeca
common for the older vocal tradition in Jasenica as a whole (MMs I-IX, p.
188-207 ), and four more respective models characteristic of the upper/west-
ern (MMs X-XIII, p. 208-210), i.e. lower/eastern part of the area (MMs XIV-
XVII, p. 213-216). These MMs are complemented by several more patterns of
songs for children (MMs 1-5, p. 211-212, 216-218).
Based on the justification of the method of the ‘Moscow school of eth-
nolinguistics’, the analysis of the materials collected, as well as in view of the
nature of the issue of the site of Jasenica itself, five general principles were ap-
plied as a base on which to derive hypotheses on the origin of individual MMs
and their elements in the territory of Jasenica, in direct connection with the
process of ethno-genesis on the given territory139 It concerns the following:
1. A broad area of distribution of the MM and large number of recorded
examples of the same type in the area, together with the frequency of genre,
may testify to an older age of the model and its longer continuity of existence
on the given territory.
2. A broad area of distribution of the MM with varieties in melodic form
and occurrence of genre may indicate streams of changes to the old model
which depend on the area, i.e. the predominant musical idiom/dialect and
music aesthetics in the given area. Further development leading to changes,
or alternatively maintaining old elements, may occur, depending on whether
the performing context falls into the area of the public or private domain, or
whether the function of certain types of song was modified.
3. A small area of distribution of MM with strict affiliation to genre may
indicate connections to a certain group of the population, present on the giv-
en territory for a relatively short period of time.
4. Contrary to that, the versatility of genres and small area of distribution
of the MM in the area, together with infrequent examples in other areas where
there is also absence of regularities in terms of genre, may suggest a form
which was assumed later, from some other sphere of music tradition.
5. From the standpoint of performing the same MM, differences ex-
pressed in these terms (one-part singing, two-part singing, types of two-part
singing) may testify to a greater age and longer existence of the MM in the
given area if combined with the first principle mentioned above. If combined
with principle 4, differences probably testify to some more recent phenomena
(“later trends”, MpubKOBuh 1979), or suggest adaptation to more recently es-
tablished forms of music expression.
*
If the characteristics of the older vocal tradition in Jasenica are placed
in the broader context of the music tradition in Serbia, there is something
interesting to note. In numerous aspects, there are a larger number of obvi-
ous similarities between the vocal traditions of Gornja Jasenica and the area
139 These five principles were developed in author’s consultations with esteemed ethnolinguist Dr Bil-
jana Sikimic, Senior Research Fellow of the SASA Institute of Balkanology. I would like to thank
her most sincerely for her most valuable assistance in collecting literature, establishing the basis for
methodology for this paper, and suggestions during the course and completion of its composition.
348
Summary
towards the west and south-west of Serbia, or between the tradition of Donja
Jasenica and the area to the east and south-east of the country than between
the traditions of the physically and geographically closer settlements of Gorn-
ja and Donja Jasenica. Metanastasic processes, the coexistence of populations
of different origins, their phased migration areas, together with the nature of
their connections within Jasenica, explain the level of mutual similarities and
differences in the manner of their musical expressions.
The general characteristics of the vocal tradition of Gornja Jasenica are
mainly consistent and recognizable. The influence of the Dinaric majority in
this site is clearly observable in the area of genres, melodic models, tonal se-
quence, structure of two-part singing, aesthetic principles, and characteristics
of performing style. To some extent, this justifies certain expectations in view
of the origin of the population. However, there are exceptions to this rule. In
the settlements in the northern, predominantly lowland part of Gornja Jasen-
ica, as far as it is known, the Dinaric influence is mitigated in traditional vocal
expression which turns to the musical sensitivity of the adjacent lowland set-
tlements of Donja Jasenica, and Kosmaj in the north.
The vocal tradition of Donja Jasenica contains a greater number of indi-
vidual local characteristics. In its vocal tradition, it is possible to find elements
which may be compared with current vocal traditions of the south, south-
east, and east Serbia, as well as of central Serbia to Kraljevo and Krusevac, up
to the north and north-east area of Kopaonik mountain. Certain regularities
in expressing some elements of the music structure in this part of material are
more difficult to group for the purpose of reaching relevant conclusions.
Between the two sub-regions, there is a transitional area. Namely, in the
border area between Gornja and Donja Jasenica, phenomena may be encoun-
tered that fall into both the western and eastern music idiom. Also, numerous
cases of assumption of certain MM from the directly adjoining areas - from
the west into the east part and vice versa - make Jasenica an area full of unique
combinations of elements of various origin, which is a specific feature of the
area less frequently encountered in other sites in Serbia.
Based on the results of work by our eminent linguists in the area of
historic dialectology, as well as on the stated principles of the comparative
typological method and methodology of the ‘Moscow school of ethnolinguis-
tics’, together with mapping certain phenomena, the possibility emerges of
certain assumptions on the age of individual elements of the music structure
of the area, as well as the flow of their genesis in the diachronic dimension, in
the light of ethno-genetic processes. These assumptions have been presented
applying the methodology established by the renowned Serb scientist Pavle
Ivic. In his study on the issues of historic dialectology, he writes: “The past
of our dialects is characterized by massive relocations of the population, and
therefore types of speech as well; thus, the linguistic image of numerous ar-
eas has been modified over time. [.] The question of time and manner of
349
Boica/ma TpaflMijMja JaceHmje y cbcttioctm eTHoreHeTCKnx npoijeca
emergence of dialects in the metanastasic area, of their origin, ingredients
and crystallizing immediately arises as one of the central issues of our his-
toric dialectology. [.] Newcomers mostly arrive in succession, and at any
moment they are usually less numerous than the indigenous element. While
some are coming, others are being assimilated, acting themselves, in turn, in
the direction of assimilation of the newly arrived. [.] Colonists may keep
their characteristics mostly when they are all of the same origin, when they
arrive in compact groups, and present a majority [.]. Here, too, successful
use of materials could not be comprehended without proper stratification of
the existing linguistic characteristics” (MBiih, 1955-1956: 97, 104-105). There
is no reason not to believe that such were the processes taking place in central
Serbia over the last two centuries in the area of traditional vocal practice.
As a result of my research, I separated several categories of features of
musical language in this area, as follows: 1) indigenous - for which, based on
the available material, it may be assumed that they have existed in the site since
the pre-migration period, which means since before the 15th century; 2) new-
comers’ - among which it is possible to recognize elements of music traditions
of different origins, which occur in the area due to migration from different
parts, with Dinaric elements, those from Kosovo-Metohija, elements of vocal
tradition of east and south-east Serbia, as well as elements of Roma and Wala-
chian traditions, and, finally, 3) features which have developed in the area in
the period from the beginning of the 19th century onwards. This last category
comprises two groups of elements: those developed in the process of crystal-
lization of the mixture of traditions and those developed spontaneously in
more recent times, irrespective of earlier development trends. These features
are in some cases clearly perceptible, sometimes also firmly tied to certain
genres. In other cases, they are in direct connection with musical elements of
different origin, within the same vocal forms or within the same genres. In the
same genres, however, heterogeneity of music forms is rather frequent.
The results of such conceived research will be presented in the following
text.
INDIGENOUS FEATURES
One of such phenomena identified in the area of Donja Jasenica is the
tonal sequence II (p. 144). It is distinctive in several ways: it is used only in
wedding songs based on the MM I, which is most characteristic and wide-
spread in the territory of Donja Jasenica. The second phenomenon which
could be regarded as a part of the indigenous tradition comprises varieties of
the song Kicerio nebo zvezdama, after the MM III, with varieties in terms of the
melo-poetic form and tonal sequences. The third phenomenon I have singled
out concerning the indigenous layer is the MM V used in harvesting songs,
with a specific melo-poetic form.
350
Summary
NEWCOMERS’ FEATURES
Elements of Dinaric vocal tradition in the territory of Jasenica may be
identified, based on comparative studies of the existing materials from the ar-
eas of origin and of staged migrations of the Dinaric population in Sumadija.
The melodic models in Jasenica which may be explained as a result of Dinaric
settlers into the region are the following: MMs I, II (partly) III, VIII, IX, then
MM IV - group of songs featuring ei-oj, and MMs VI, X, XI, and XIII. In the
hilly part of Gonja Jasenica, the Dinaric element in the public, transparent
part of vocal tradition is quite strongly expressed. In Donja Jasenica, the pic-
ture of vocal expressions is considerably more complex, bearing in mind the
fact that most homes are of Dinaric origin. To the present day, elements of
Dinaric singing in Donja Jasenica may be recognized only in traces in certain
elements of tradition, the general characteristics of which give out a total-
ly different picture. An important aspect of expression of Dinaric music ele-
ments in Donja Jasenica is the aspect of private and the public. Namely, it ap-
pears that Dinaric elements, which differ from the culture of the setting, were
preserved until the end of the 20th century within customs and traditions of
closed, internal type: traditions and songs sung around Christmas, songs for
children, and songs celebrating patron saints. Interestingly, certain elements
of the Dinaric form of expression in Donja Jasenica were preserved not in the
melo-poetic, but in speech form.140
Elements of Kosovo vocal tradition. Occurrence of the harvesting MM
V in the whole region and a way of melodic shaping in wedding and spin-
ning songs based on MM III in Donja Jasenica may speak in favour of the
assumption of cultural continuity of the indigenous population and settlers
from Kosovo and Metohija.
Elements of the music tradition of eastern and south-eastern Serbia.
Even though the occurrence of koleda songs (sung around Christmas time)
in the eastern part of Jasenica has already been mentioned as a possible out-
standing feature of the tradition of the indigenous population, it is the fact that
formal and melodic properties of the existing examples indicate their close
relation with songs of the same genre in the eastern parts of Serbia. Spinning
songs with the chorus da dode, da ne dode from Donja Jasenica indicate doubt-
less relations with songs of the indigenous population from eastern Serbia.
Elements indicating connections with the Walachian tradition and
elements brought by Roma. This is primarily about elements in the area of
140 This is about: 1) a song intended for the Christmas candle, the surviving form of UijaKawa / cjaKcma
which originates from Bosnia, and 2) speech forms between prose and poetry in the domain of the
public, at weddings: on welcoming the mustulugdzija (messanger) and, in the distant past, on exhibiting
presents, which are in both cases accompanied with aminovanje (ending songs with long „Amin“).
These forms could be complemented with brojanice (counting songs) of adults, which, among other
things, had a counterpart in oral forms of exhibiting presents at weddings, which were lost from prac-
tice before more recent recordings.
351
BoKama Tpa^m^Mja JaceHMuje y cbcttioctm eTHoreHeTCKwx npou¡eca
Donja Jasenica. The role of these two ethnic groups in spreading elements
of their tradition is essentially different. The Walachians and the Serbs com-
prise a unique population, occurring in the area as a host of offspring of the
Timok-Branicevo metanastasic stream. Thus, it is only logical that elements
of the Walachian music tradition could be incorporated in the tradition of the
majority Serb population. The results of the analysis indicate the possibility of
the existence of such influence in atypical cadences in wedding songs after the
MM IV, with the refrain of devojko, as well as in MM 3 of songs for children
with the descending large third interval.
In this area, Roma have acted as “continuers” of traditional Serb calen-
dar practices (lazarice, kraljice, dodole), but with the aim of generating profit,
which led to degeneration of the rites themselves as well as changes in the
music matrix accompanying them.
FEATURES WHICH HAVE BEEN DEVELOPING FROM THE
TIMES OF INTENSE MIGRATIONS TO THE PRESENT DATE
Features emerging through crystallization of a mixture of heteroge-
neous elements. This merging of different elements may be observed in the
domain of singing at weddings, Patron Saints' days, harvesting, spinning, as
well as in the domain of mutual interfering of the older and more recent two-
part singing, that is, in hybrid forms - in the part relating to the wedding
repertoire, but even more so in general purpose songs.
Features which have developed more recently, independently from
earlier processes. One of the phenomena which may be deemed the most
significant innovation in the vocal tradition of Jasenica is the development of
more recent rural singing, “to the bass”. It was most possibly developed in the
area in the course of the 20th century.
*
According to the assumptions stated in this paper on the hypothetical
vocal tradition of the indigenous Slav (Serb) population in Sumadija, one of its
most constant elements are the features of the wedding and harvesting songs.
This conclusion is also in line with the linguistic line of thought, that “ritual
calendar and family poetry” appears to be “resistant, closed, stable internally
and externally” (ToTicxoj 1995: 20). On the other hand, some genres of other
types, including the genre of spinning songs, may be defined as “susceptible in
terms of alien folklore and neo-folklore fund” (Ibid).
The fact that the results of ethno-musicological, linguistic, even eth-
no-choreological findings in the area of Jasenica largely coincide appears to be
very significant. It confirms one of the positions of other researcher pundits in
the area: “The indicators that separate the dialect - in linguistic, ethnographic,
and folklore terms - frequently go side by side, thus creating a diverse dialect
property” (Toncroj 1995: 15).
352 |
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| author | Jovanović, Jelena 1964- |
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| id | DE-604.BV043726228 |
| illustrated | Illustrated |
| indexdate | 2024-10-12T14:03:09Z |
| institution | BVB |
| isbn | 9788680639147 |
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| spelling | Jovanović, Jelena 1964- Verfasser (DE-588)1112048316 aut Vokalna tradicija Jasenice u svetlosti etnogenetskih procesa = Vocal tradition of Jasenica region in view of ethnogenetic processes Jelena Jovanović Vocal tradition of Jasenica region in view of ethnogenetic processes Beograd Muzikološki institut SANU 2014 737 Seiten Notenbeispiele, Karten txt rdacontent n rdamedia nc rdacarrier Text serbisch, Zusammenfassung in englischer Sparche Kyrillische Schrift Vokalmusik (DE-588)4063783-9 gnd rswk-swf Musikethnologie (DE-588)4127833-1 gnd rswk-swf Volksmusik (DE-588)4063854-6 gnd rswk-swf Jasenica-Gebiet (DE-588)4533803-6 gnd rswk-swf Jasenica-Gebiet (DE-588)4533803-6 g Vokalmusik (DE-588)4063783-9 s Volksmusik (DE-588)4063854-6 s Musikethnologie (DE-588)4127833-1 s DE-604 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029138185&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029138185&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Jovanović, Jelena 1964- Vokalna tradicija Jasenice u svetlosti etnogenetskih procesa = Vocal tradition of Jasenica region in view of ethnogenetic processes Vokalmusik (DE-588)4063783-9 gnd Musikethnologie (DE-588)4127833-1 gnd Volksmusik (DE-588)4063854-6 gnd |
| subject_GND | (DE-588)4063783-9 (DE-588)4127833-1 (DE-588)4063854-6 (DE-588)4533803-6 |
| title | Vokalna tradicija Jasenice u svetlosti etnogenetskih procesa = Vocal tradition of Jasenica region in view of ethnogenetic processes |
| title_alt | Vocal tradition of Jasenica region in view of ethnogenetic processes |
| title_auth | Vokalna tradicija Jasenice u svetlosti etnogenetskih procesa = Vocal tradition of Jasenica region in view of ethnogenetic processes |
| title_exact_search | Vokalna tradicija Jasenice u svetlosti etnogenetskih procesa = Vocal tradition of Jasenica region in view of ethnogenetic processes |
| title_full | Vokalna tradicija Jasenice u svetlosti etnogenetskih procesa = Vocal tradition of Jasenica region in view of ethnogenetic processes Jelena Jovanović |
| title_fullStr | Vokalna tradicija Jasenice u svetlosti etnogenetskih procesa = Vocal tradition of Jasenica region in view of ethnogenetic processes Jelena Jovanović |
| title_full_unstemmed | Vokalna tradicija Jasenice u svetlosti etnogenetskih procesa = Vocal tradition of Jasenica region in view of ethnogenetic processes Jelena Jovanović |
| title_short | Vokalna tradicija Jasenice u svetlosti etnogenetskih procesa |
| title_sort | vokalna tradicija jasenice u svetlosti etnogenetskih procesa vocal tradition of jasenica region in view of ethnogenetic processes |
| title_sub | = Vocal tradition of Jasenica region in view of ethnogenetic processes |
| topic | Vokalmusik (DE-588)4063783-9 gnd Musikethnologie (DE-588)4127833-1 gnd Volksmusik (DE-588)4063854-6 gnd |
| topic_facet | Vokalmusik Musikethnologie Volksmusik Jasenica-Gebiet |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029138185&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=029138185&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT jovanovicjelena vokalnatradicijajaseniceusvetlostietnogenetskihprocesavocaltraditionofjasenicaregioninviewofethnogeneticprocesses AT jovanovicjelena vocaltraditionofjasenicaregioninviewofethnogeneticprocesses |