This article contributes to the study of the relationship between music and dance through the elaboration of questions such as: how music and dance coexist in the perception of the performer; whether dance is always inseparable from music or it becomes independent from it in formal learning conditions; whether music influences learning and memorising the choreography of the folk dance. Incorporating aspects of cognitive research into the study fields of ethnomusicology and ethnochoreology creates fertile ground for (re)examining previous opinions about the relationship between music and dance, as well as the need for future interdisciplinary research of the process of learning and remembering choreography as an art form.
{"title":"(Re)examining the relationship between music and dance from the perspective of learning and memorizing folk dance choreography","authors":"Maja Krasin-Matic","doi":"10.2298/muz2233231k","DOIUrl":"https://doi.org/10.2298/muz2233231k","url":null,"abstract":"This article contributes to the study of the relationship between music and dance through the elaboration of questions such as: how music and dance coexist in the perception of the performer; whether dance is always inseparable from music or it becomes independent from it in formal learning conditions; whether music influences learning and memorising the choreography of the folk dance. Incorporating aspects of cognitive research into the study fields of ethnomusicology and ethnochoreology creates fertile ground for (re)examining previous opinions about the relationship between music and dance, as well as the need for future interdisciplinary research of the process of learning and remembering choreography as an art form.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68540083","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 paper discusses the approaches of different media to Holocaust (re)presentation, with special reference to art music in the 20th century. Following the classification proposed by Michael Rothberg on two possible perspectives for representing the Holocaust: realistic and anti-realist (2000), we analyse two compositions: Arnold Schoenberg?s A Survivor From Warsaw (1947) and Steve Reich?s Different Trains (1988). The aim of the paper is to point out how artistic music reflects and participates in the dominant historical and contemporary discourses of Holocaust representation, especially the discourses of ?heroism? and ?non-representability?.
{"title":"Two faces of mystification: the representation of the holocaust in Arnold Schoenberg's a survivor from Warsaw and Steve Reich's different trains","authors":"Vera Mevorah","doi":"10.2298/muz2232183m","DOIUrl":"https://doi.org/10.2298/muz2232183m","url":null,"abstract":"The paper discusses the approaches of different media to Holocaust (re)presentation, with special reference to art music in the 20th century. Following the classification proposed by Michael Rothberg on two possible perspectives for representing the Holocaust: realistic and anti-realist (2000), we analyse two compositions: Arnold Schoenberg?s A Survivor From Warsaw (1947) and Steve Reich?s Different Trains (1988). The aim of the paper is to point out how artistic music reflects and participates in the dominant historical and contemporary discourses of Holocaust representation, especially the discourses of ?heroism? and ?non-representability?.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"333 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68537954","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}
Danka Lajic-Mihajlovic, D. Pokrajac, S. Spasojevic
The study of gramophone records is important when acquainting oneself with Mijat Mijatovic (1887-1937), who strongly impacted so-called folk music in the Kingdom of Serbs, Croats and Slovenes / Yugoslavia, considering the importance of the records he released during his career. His opus of commercial recordings is the largest of the interwar period in the area and, therefore, it is highly indicative when considering the correlation between the early music industry and ?local? culture as a glocal topic. In this study we present numerous sources and a complex critical analysis that resulted in Mijatovic?s discography. Special attention has been paid to record companies, the chronology of recordings, the repertoire and collaborating musicians, thus mapping the potential of discography for the study of recorded music and cultural history.
{"title":"Gramophone records of the singer Mijat Mijatovic: From (re)construction of discography to the study of recorded music","authors":"Danka Lajic-Mihajlovic, D. Pokrajac, S. Spasojevic","doi":"10.2298/muz2232041l","DOIUrl":"https://doi.org/10.2298/muz2232041l","url":null,"abstract":"The study of gramophone records is important when acquainting oneself with Mijat Mijatovic (1887-1937), who strongly impacted so-called folk music in the Kingdom of Serbs, Croats and Slovenes / Yugoslavia, considering the importance of the records he released during his career. His opus of commercial recordings is the largest of the interwar period in the area and, therefore, it is highly indicative when considering the correlation between the early music industry and ?local? culture as a glocal topic. In this study we present numerous sources and a complex critical analysis that resulted in Mijatovic?s discography. Special attention has been paid to record companies, the chronology of recordings, the repertoire and collaborating musicians, thus mapping the potential of discography for the study of recorded music and cultural history.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68538322","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}
Entrainment in music refers to the interaction and synchronization of two or more rhythmic processes. The first part of this paper presents entrainment the?ory in ethnomusicology as a methodology for interdisciplinary research into musical, social, and cultural phenomena. The second part of the paper concerns the application of the concept of musical social entrainment in the example of tambura practice. Because tambura players display mutual entrainment through various behaviors during playing and social interaction, applying entrainment theory entails an analytical segmentation of the social and musical spheres in a specific musical performance.
{"title":"Applying the concept of musical social entrainment in researching tambura practice in Serbia","authors":"Julijana Baštić","doi":"10.2298/muz2232245b","DOIUrl":"https://doi.org/10.2298/muz2232245b","url":null,"abstract":"Entrainment in music refers to the interaction and synchronization of two or more rhythmic processes. The first part of this paper presents entrainment the?ory in ethnomusicology as a methodology for interdisciplinary research into musical, social, and cultural phenomena. The second part of the paper concerns the application of the concept of musical social entrainment in the example of tambura practice. Because tambura players display mutual entrainment through various behaviors during playing and social interaction, applying entrainment theory entails an analytical segmentation of the social and musical spheres in a specific musical performance.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68538723","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}
Understanding the historical processes in the shaping of stage folk music raises an important question about the application of traditional music in stage choreographic works. Since the 1930s in Serbia, the history of music and dance was cre?ated by prominent individuals, musicians and composers, initiated by the work of choreographers such as Maga Magazinovic, Russian artists, and later by many domestic performing artists gathered around cultural and artistic societies and the National ensemble ?Kolo?. In this article, all available data relevant for the consideration of stage folk music as a specific genre will be presented along with the stage folk dance, precisely through the form of folk dance choreography (FDC), whose developmental path was hinted at since the end of the 19th century. Defining and understanding dance music, that is, music for FDC, opens new horizons in re-examining the process of forming stage folk music in our region.
{"title":"The process of shaping stage folk music through the prism of the development of folk dance choreography","authors":"Vesna Bajic-Stojiljkovic","doi":"10.2298/muz2233209b","DOIUrl":"https://doi.org/10.2298/muz2233209b","url":null,"abstract":"Understanding the historical processes in the shaping of stage folk music raises an important question about the application of traditional music in stage choreographic works. Since the 1930s in Serbia, the history of music and dance was cre?ated by prominent individuals, musicians and composers, initiated by the work of choreographers such as Maga Magazinovic, Russian artists, and later by many domestic performing artists gathered around cultural and artistic societies and the National ensemble ?Kolo?. In this article, all available data relevant for the consideration of stage folk music as a specific genre will be presented along with the stage folk dance, precisely through the form of folk dance choreography (FDC), whose developmental path was hinted at since the end of the 19th century. Defining and understanding dance music, that is, music for FDC, opens new horizons in re-examining the process of forming stage folk music in our region.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68539974","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}
In recent decades, audiovisual media has been increasingly used in ethnomusicological research. If we consider how scholars use them, four main areas of application can be identified: 1) data analysis, 2) documentary films, 3) public ethnomusicology, 4) educational use. This article presents some audiovisual products on traditional instrumental and vocal music as well as improvised sung poetry in Sardinia (Italy) on which I have worked over the last few years - including the visual representation of musical and poetic forms, and also audiovisual products for exhibitions, museums and multimedia encyclopaedias. My aim is to discuss the role played by ethnomusicologist in conceiving new strategies for the visual representation of the music of oral tradition in different productive contexts and audiovisual outputs.
{"title":"Audiovisual media in public ethnomusicology and education: A Sardinian experience","authors":"M. Lutzu","doi":"10.2298/muz2233103l","DOIUrl":"https://doi.org/10.2298/muz2233103l","url":null,"abstract":"In recent decades, audiovisual media has been increasingly used in ethnomusicological research. If we consider how scholars use them, four main areas of application can be identified: 1) data analysis, 2) documentary films, 3) public ethnomusicology, 4) educational use. This article presents some audiovisual products on traditional instrumental and vocal music as well as improvised sung poetry in Sardinia (Italy) on which I have worked over the last few years - including the visual representation of musical and poetic forms, and also audiovisual products for exhibitions, museums and multimedia encyclopaedias. My aim is to discuss the role played by ethnomusicologist in conceiving new strategies for the visual representation of the music of oral tradition in different productive contexts and audiovisual outputs.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68539450","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}
A significant part of the Radio Belgrade programme, especially in the years before the establishment of instrumental and choral ensembles within this institution, was comprised of music recordings. Although gramophone record concerts were presented within the programme announcements, they were not considered in more detail in existing studies of music on Radio Belgrade. One of the reasons for this could be limited access to the data on the gramophone record concerts. Thus, for the first analysis of this segment of the music programme, the author has focused on the first year in which weekly radio programme announcements were printed in Radio Beograd: nedeljni ilustrovani casopis. The announcements contained data about music numbers, recordings companies, and serial numbers of the records played. More precisely, the series of His Master?s Voice concerts, named after the label of records exclusively broadcast in the programme, were examined in the period from October 1930 to October 1931. This particular series was chosen because of the importance of the label in both the global and local mu?sic industry and the continual broadcasted of His Master?s Voice records on Radio Belgrade. Furthermore, the diversity of programme conceptions of concerts within the series indicates the particular ways in which gramophone record concerts were designed. Based on the series of His Master?s Voice concerts, three methods of categorising gramophone record concerts are suggested. In addition, the paper offers little known archival data on gramophone record distributors who borrowed records to Radio Belgrade for marketing purposes.
{"title":"Aspects of interaction between radio and recording industry: Example of the his master’s voice concerts on Radio Belgrade programme","authors":"Marija Maglov","doi":"10.2298/muz2232083m","DOIUrl":"https://doi.org/10.2298/muz2232083m","url":null,"abstract":"A significant part of the Radio Belgrade programme, especially in the years before the establishment of instrumental and choral ensembles within this institution, was comprised of music recordings. Although gramophone record concerts were presented within the programme announcements, they were not considered in more detail in existing studies of music on Radio Belgrade. One of the reasons for this could be limited access to the data on the gramophone record concerts. Thus, for the first analysis of this segment of the music programme, the author has focused on the first year in which weekly radio programme announcements were printed in Radio Beograd: nedeljni ilustrovani casopis. The announcements contained data about music numbers, recordings companies, and serial numbers of the records played. More precisely, the series of His Master?s Voice concerts, named after the label of records exclusively broadcast in the programme, were examined in the period from October 1930 to October 1931. This particular series was chosen because of the importance of the label in both the global and local mu?sic industry and the continual broadcasted of His Master?s Voice records on Radio Belgrade. Furthermore, the diversity of programme conceptions of concerts within the series indicates the particular ways in which gramophone record concerts were designed. Based on the series of His Master?s Voice concerts, three methods of categorising gramophone record concerts are suggested. In addition, the paper offers little known archival data on gramophone record distributors who borrowed records to Radio Belgrade for marketing purposes.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68537939","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}
Starting with the idea that sustainability as a concept can (and should) be applied in the field of incidental music, thus, ensuring the continuation of its life after the curtain falls, we argue that discography is one of the main ways in which incidental music (like any other type of music) can be preserved and later studied. We argue that discography (as a sustainability tool) equals the survival (survivability) of incidental music and test this hypothesis on four case studies - compact discs and releases of incidental music of four composers: Vojislav Voki Kostic, Zoran Eric, Zoran Simjanovic and Isidora Zebeljan.
{"title":"When the curtain falls: The sustainability of incidental music","authors":"M. Novaković","doi":"10.2298/muz2232125n","DOIUrl":"https://doi.org/10.2298/muz2232125n","url":null,"abstract":"Starting with the idea that sustainability as a concept can (and should) be applied in the field of incidental music, thus, ensuring the continuation of its life after the curtain falls, we argue that discography is one of the main ways in which incidental music (like any other type of music) can be preserved and later studied. We argue that discography (as a sustainability tool) equals the survival (survivability) of incidental music and test this hypothesis on four case studies - compact discs and releases of incidental music of four composers: Vojislav Voki Kostic, Zoran Eric, Zoran Simjanovic and Isidora Zebeljan.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68538155","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}
Serbian clubs in Vienna are cultural, artistic, and sports organisations formed in the 1970s by Yugoslav guest workers, then called Yugoslav clubs. Since the 1990s, due to significant socio-political changes in the home country, the work policies of clubs in Vienna have changed, and they have become Serbian clubs. To learn traditional singing within the folklore sections of the mentioned clubs, the leaders hire pedagogues from Serbia - ethnomusicologists or individuals with completed secondary music schools in the departments of traditional sing?ing. This paper aims to present and analyse several aspects of learning traditional singing in these institutions, focusing on the exchange of different forms of capi?tal - from economic to symbolic and vice versa and reviewing the role of individ?uals in these systems.
{"title":"Learning traditional singing in Serbian clubs in Vienna - economic aspects between amateurism and professionalism","authors":"Miloš Rašić","doi":"10.2298/muz2232225r","DOIUrl":"https://doi.org/10.2298/muz2232225r","url":null,"abstract":"Serbian clubs in Vienna are cultural, artistic, and sports organisations formed in the 1970s by Yugoslav guest workers, then called Yugoslav clubs. Since the 1990s, due to significant socio-political changes in the home country, the work policies of clubs in Vienna have changed, and they have become Serbian clubs. To learn traditional singing within the folklore sections of the mentioned clubs, the leaders hire pedagogues from Serbia - ethnomusicologists or individuals with completed secondary music schools in the departments of traditional sing?ing. This paper aims to present and analyse several aspects of learning traditional singing in these institutions, focusing on the exchange of different forms of capi?tal - from economic to symbolic and vice versa and reviewing the role of individ?uals in these systems.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"22 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68538609","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}
In this paper, I will focus on the reconstruction of the history of operetta companies established in interwar Belgrade. I gave priority to those ensembles that held regular performances for a longer period of time in the late 1920s and late 1930s. Aside from making a detailed overview of several more stable operetta theatres in Belgrade at the time, including their repertoire and leading artists, the attention will also be paid to uncovering the broader context of their work. The issues of state cultural policy and the rise of competitiveness inside the local spheres of culture and entertainment will also be discussed.
{"title":"Under political and market pressures: The staging of operetta in interwar Belgrade","authors":"Ivana Vesic","doi":"10.2298/muz2233121v","DOIUrl":"https://doi.org/10.2298/muz2233121v","url":null,"abstract":"In this paper, I will focus on the reconstruction of the history of operetta companies established in interwar Belgrade. I gave priority to those ensembles that held regular performances for a longer period of time in the late 1920s and late 1930s. Aside from making a detailed overview of several more stable operetta theatres in Belgrade at the time, including their repertoire and leading artists, the attention will also be paid to uncovering the broader context of their work. The issues of state cultural policy and the rise of competitiveness inside the local spheres of culture and entertainment will also be discussed.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68540295","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：