: Starting with Maria Todorova’s landmark study Imagining the Balkans (Todorova 1997), numerous authors have raised their voices against stereotypical images of the Balkans. Over twenty years after the publication of this book, the term “the Balkans” seems to have lost some of its negative connotations related to wars in favour of characteristics with positive overtones, such as the Balkan peoples’ joie-de-vivre and entertainment strongly related to music. The areal ethnomusicology drawing from fieldwork throughout the Balkan peninsula has been a fruitful topic for numerous local and foreign ethnomusicologists and the very term “the Balkans” has raised a special interest in the ethnomusicological research of “outsiders”, as well as in the music industry. This paper is written from the perspective of an “insider” ethnomusicologist from the Balkans. I raise the question of the definition of the “Balkan” popular music label and discuss its main structural characteristics. I offer a new possibility of (re)considering a specific musical genre of the region based on the research of urban folk music practices. I present characteristics of urban folk music practices from the second half of the nineteenth and the first half of the twentieth century in the countries of the Balkans, with special attention paid to their common aspects. Also, contemporary urban folk music, which is often criticized as a specific popular music form, is considered.
{"title":"Contemporary urban folk music in the Balkans: Possibilities for regional music history","authors":"Marija Dumnic-Vilotijevic","doi":"10.2298/MUZ1825091D","DOIUrl":"https://doi.org/10.2298/MUZ1825091D","url":null,"abstract":": Starting with Maria Todorova’s landmark study Imagining the Balkans (Todorova 1997), numerous authors have raised their voices against stereotypical images of the Balkans. Over twenty years after the publication of this book, the term “the Balkans” seems to have lost some of its negative connotations related to wars in favour of characteristics with positive overtones, such as the Balkan peoples’ joie-de-vivre and entertainment strongly related to music. The areal ethnomusicology drawing from fieldwork throughout the Balkan peninsula has been a fruitful topic for numerous local and foreign ethnomusicologists and the very term “the Balkans” has raised a special interest in the ethnomusicological research of “outsiders”, as well as in the music industry. This paper is written from the perspective of an “insider” ethnomusicologist from the Balkans. I raise the question of the definition of the “Balkan” popular music label and discuss its main structural characteristics. I offer a new possibility of (re)considering a specific musical genre of the region based on the research of urban folk music practices. I present characteristics of urban folk music practices from the second half of the nineteenth and the first half of the twentieth century in the countries of the Balkans, with special attention paid to their common aspects. Also, contemporary urban folk music, which is often criticized as a specific popular music form, is considered.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":"91-101"},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68534888","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The phenomenon of interference lies at the heart of quantum physics, and is responsible for many of the unusual aspects of quantum behaviour that deviate from our everyday expectations. Though classical physics allows for waves (e.g. of sound) to interfere, quantum theory allows for interference effects also to affect single particles. One device that demonstrates this experimentally is the Mach–Zehnder interferometer: here a single particle (e.g. a photon) travels down one of two possible paths, and quantum interference between the two paths affects the final position where the particle arrives. In this article, I propose a mechanism to musically demonstrate quantum single-particle interference: the musical Mach–Zehnder interferometer. This new quantum musical instrument makes use of two independently operated electronic keyboards, whose outputs are interfered according to the rules of the Mach–Zehnder interferometer. I discuss the musical possibilities this instrument enables, and outline a method to construct it via software simulation.
{"title":"The musical Mach-Zehnder interferometer","authors":"Andrew J. P. Garner","doi":"10.2298/MUZ1824039G","DOIUrl":"https://doi.org/10.2298/MUZ1824039G","url":null,"abstract":"The phenomenon of interference lies at the heart of quantum physics, and is responsible for many of the unusual aspects of quantum behaviour that deviate from our everyday expectations. Though classical physics allows for waves (e.g. of sound) to interfere, quantum theory allows for interference effects also to affect single particles. One device that demonstrates this experimentally is the Mach–Zehnder interferometer: here a single particle (e.g. a photon) travels down one of two possible paths, and quantum interference between the two paths affects the final position where the particle arrives. In this article, I propose a mechanism to musically demonstrate quantum single-particle interference: the musical Mach–Zehnder interferometer. This new quantum musical instrument makes use of two independently operated electronic keyboards, whose outputs are interfered according to the rules of the Mach–Zehnder interferometer. I discuss the musical possibilities this instrument enables, and outline a method to construct it via software simulation.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":"39-49"},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68534048","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Kornelije Stankovic´s piano repertoire - from European practice to national ideology","authors":"Marijana Kokanović-Marković","doi":"10.2298/MUZ1825103K","DOIUrl":"https://doi.org/10.2298/MUZ1825103K","url":null,"abstract":"","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":"103-117"},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68534427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Petar Konjovic’s contribution to the constitution and the beginnings of the Institute of Musicology of the Serbian Academy of Sciences and Arts","authors":"Biljana Milanović","doi":"10.2298/muz1825015m","DOIUrl":"https://doi.org/10.2298/muz1825015m","url":null,"abstract":"","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":"15-48"},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68534792","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper aims to interpret two capital works of Heinrich Christoph Koch, the most important theorist of the eighteenth century: Musical Lexicon ( Musikalisches Lexikon ) and Introductory Essay on Composition ( Versuch einer Anleitung zur Composition ) in three volumes, from the viewpoint of his analytical terminology. For better understanding of the piece, and bearing in mind that his Introductory Essay is a textbook, and therefore has a pedagogical nature, his view on the composer’s relation with his work is discussed, and with it, creating a piece based on three parameters: conception, realization and elaboration, as well as the concepts of feeling, genius, fervour, impression and taste. Koch’s relationship to the work from the viewpoint of the analysis of musical form and its dissection is considered. Some concepts, which have always been used in the analysis of form, whose meaning is understood by default, are explained: character, genre, style. This paper arises from the necessity of re-examining Koch’s analytical terminology and to introduce it into today’s analytical practice, especially for the better understanding of music of the baroque and classical periods and its more logical explication. Special emphasis has been given to sonata form, which is necessary to be seen in a different way, in accordance with the stylistic period in which it was created. Koch’s music theory is completely neglected in the textbook literature and therefore the contribution of this scientific work is twofold: the analysis of Koch’s postulates as well as an attempt to implement them in todays’ practice.
本文旨在从分析术语的角度解读18世纪最重要的理论家海因里希·克里斯托夫·科赫的两部代表作:《音乐词典》(Musikalisches lexkon)和《作曲导论》(Versuch einer Anleitung zur Composition)。为了更好地理解这首曲子，并考虑到他的导论是一本教科书，因此具有教学性质，我们讨论了他对作曲家与他的作品的关系的看法，并以此为基础，根据三个参数:概念、实现和阐述，以及感觉、天才、热情、印象和品味的概念来创作一首曲子。从音乐形式的分析及其解剖的角度来考虑科赫与作品的关系。本文解释了一些一直用于形式分析的概念，它们的含义是默认的:人物、体裁、风格。本文源于重新审视科赫的分析术语的必要性，并将其引入到今天的分析实践中，特别是为了更好地理解巴洛克和古典时期的音乐，以及更合乎逻辑的解释。特别强调奏鸣曲的形式，这是必要的，以不同的方式来看待，按照它所创造的风格时期。科赫的音乐理论在教科书文献中完全被忽视，因此这项科学工作的贡献是双重的:对科赫的假设的分析以及在今天的实践中实施它们的尝试。
{"title":"Possible implementation of Heinrich Christoph Koch’s analytical terminology in contemporary analytical practice","authors":"Jasna Veljanovic","doi":"10.2298/MUZ1825159V","DOIUrl":"https://doi.org/10.2298/MUZ1825159V","url":null,"abstract":"This paper aims to interpret two capital works of Heinrich Christoph Koch, the most important theorist of the eighteenth century: Musical Lexicon ( Musikalisches Lexikon ) and Introductory Essay on Composition ( Versuch einer Anleitung zur Composition ) in three volumes, from the viewpoint of his analytical terminology. For better understanding of the piece, and bearing in mind that his Introductory Essay is a textbook, and therefore has a pedagogical nature, his view on the composer’s relation with his work is discussed, and with it, creating a piece based on three parameters: conception, realization and elaboration, as well as the concepts of feeling, genius, fervour, impression and taste. Koch’s relationship to the work from the viewpoint of the analysis of musical form and its dissection is considered. Some concepts, which have always been used in the analysis of form, whose meaning is understood by default, are explained: character, genre, style. This paper arises from the necessity of re-examining Koch’s analytical terminology and to introduce it into today’s analytical practice, especially for the better understanding of music of the baroque and classical periods and its more logical explication. Special emphasis has been given to sonata form, which is necessary to be seen in a different way, in accordance with the stylistic period in which it was created. Koch’s music theory is completely neglected in the textbook literature and therefore the contribution of this scientific work is twofold: the analysis of Koch’s postulates as well as an attempt to implement them in todays’ practice.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":"159-177"},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68534645","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The history of music in the countries of Southern Europe has, in general, been examined either from the West or from the East. This has had to do with traditional and univestigated assumptions of divisions on religious and linguistic grounds, amongst others, and a lack of familiarity with the relevant literatures which it self derives in large part from a lack of familarity with the relevant languages. Thus, there has been very little comparison of aesthetics in the context of emerging or newly-established nations, and the vital and simultaneous investigation of modernism in those countries, that takes into account both the countries of the Mediterranean and of the Balkans, rather than viewing them as peripheries and discussing them almost exclusively in relation to a theoretical centre. In a number of recent publications and papers, I have aimed to break down some of the seborders precisely by confronting the question of tradition and modernism and bycomparing and contrasting the music of the Latin/ Roman Catholic South-West with that of the Slavic and Greek/Orthodox East, at the same time endeavouring todiscuss this problem in a very broad sense, which I believe to be necessary in establishing the groundwork for future investigation in this area. In this article I discuss this approach and examine the problems inherent in its implementation, given both the need for breadth of historical and geographical vision (i.e., denationalizing music histories) and for the avoidance of a musicology of cliché, born of ideology rather than unbiased curiosity.
{"title":"The compass revisited: Rewriting histories of music in the south","authors":"I. Moody","doi":"10.2298/MUZ1825199M","DOIUrl":"https://doi.org/10.2298/MUZ1825199M","url":null,"abstract":"The history of music in the countries of Southern Europe has, in general, been examined either from the West or from the East. This has had to do with traditional and univestigated assumptions of divisions on religious and linguistic grounds, amongst others, and a lack of familiarity with the relevant literatures which it self derives in large part from a lack of familarity with the relevant languages. Thus, there has been very little comparison of aesthetics in the context of emerging or newly-established nations, and the vital and simultaneous investigation of modernism in those countries, that takes into account both the countries of the Mediterranean and of the Balkans, rather than viewing them as peripheries and discussing them almost exclusively in relation to a theoretical centre. In a number of recent publications and papers, I have aimed to break down some of the seborders precisely by confronting the question of tradition and modernism and bycomparing and contrasting the music of the Latin/ Roman Catholic South-West with that of the Slavic and Greek/Orthodox East, at the same time endeavouring todiscuss this problem in a very broad sense, which I believe to be necessary in establishing the groundwork for future investigation in this area. In this article I discuss this approach and examine the problems inherent in its implementation, given both the need for breadth of historical and geographical vision (i.e., denationalizing music histories) and for the avoidance of a musicology of cliché, born of ideology rather than unbiased curiosity.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":"199-206"},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68534716","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
: This paper is dedicated to the investigation of the initial period of the Institute of Musicology SAS, the first scientific institution of this kind in Serbia (and Yugoslavia), in order to give an insight into the development of national musicology and ethnomusicology. The results of earlier research about the topic have been expanded by means of the analysis of documents from the archive of the Institute of Musicology SASA. The organization of the Institute’s functioning, general research orientation, key topics, methodological choices and the significance of individual researchers were considered in detail. This diachronically oriented overview of research into music throughout the 20th century enabled us to pointing out the continuities and innovations after World War II and the Institute’s foundation.
{"title":"The dominant currents in the research of music in Serbia: An overview of the Institute of Musicology SAS’s early history (1947-1965)","authors":"Ivana Vesic, Danka Lajic-Mihajlovic","doi":"10.2298/MUZ1825049V","DOIUrl":"https://doi.org/10.2298/MUZ1825049V","url":null,"abstract":": This paper is dedicated to the investigation of the initial period of the Institute of Musicology SAS, the first scientific institution of this kind in Serbia (and Yugoslavia), in order to give an insight into the development of national musicology and ethnomusicology. The results of earlier research about the topic have been expanded by means of the analysis of documents from the archive of the Institute of Musicology SASA. The organization of the Institute’s functioning, general research orientation, key topics, methodological choices and the significance of individual researchers were considered in detail. This diachronically oriented overview of research into music throughout the 20th century enabled us to pointing out the continuities and innovations after World War II and the Institute’s foundation.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":"49-76"},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68534815","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
There have been significant attempts previously to use the equations of quantum mechanics for generating sound, and to sonify simulated quantum processes. For new forms of computation to be utilized in computer music, eventually hardware must be utilized. This has rarely happened with quantum computer music. One reason for this is that it is currently not easy to get access to such hardware. A second is that the hardware available requires some understanding of quantum computing theory. This paper moves forward the process by utilizing two hardware quantum computation systems: IBMQASM v1.1 and a D-Wave 2X. It also introduces the ideas behind the gate-based IBM system, in a way hopefully more accessible to computerliterate readers. This is a presentation of the first hybrid quantum computer algorithm, involving two hardware machines. Although neither of these algorithms explicitly utilize the promised quantum speed-ups, they are a vital first step in introducing QC to the musical field. The article also introduces some key quantum computer algorithms and discusses their possible future contribution to computer music.
{"title":"Programming Gate-based Hardware Quantum Computers for Music","authors":"Alexis Kirke","doi":"10.2298/MUZ1824021K","DOIUrl":"https://doi.org/10.2298/MUZ1824021K","url":null,"abstract":"There have been significant attempts previously to use the equations of quantum mechanics for generating sound, and to sonify simulated quantum processes. For new forms of computation to be utilized in computer music, eventually hardware must be utilized. This has rarely happened with quantum computer music. One reason for this is that it is currently not easy to get access to such hardware. A second is that the hardware available requires some understanding of quantum computing theory. This paper moves forward the process by utilizing two hardware quantum computation systems: IBMQASM v1.1 and a D-Wave 2X. It also introduces the ideas behind the gate-based IBM system, in a way hopefully more accessible to computerliterate readers. This is a presentation of the first hybrid quantum computer algorithm, involving two hardware machines. Although neither of these algorithms explicitly utilize the promised quantum speed-ups, they are a vital first step in introducing QC to the musical field. The article also introduces some key quantum computer algorithms and discusses their possible future contribution to computer music.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":"21-37"},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68534030","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The status of opera artist at the national theatre in belgrade from 1970 to 1980","authors":"V. Spasić","doi":"10.2298/MUZ1824131S","DOIUrl":"https://doi.org/10.2298/MUZ1824131S","url":null,"abstract":"","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"313 1","pages":"131-149"},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68534606","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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