As the first festival of contemporary music in socialist Yugoslavia, the Music Biennale Zagreb (founded in 1961) attracted a lot of domestic and foreign media attention. This study discusses the reception of the first Music Biennale in the Belgradian daily newspapers, Politika [Politics], Borba [Struggle] and Vecernje Novosti [Evening News], with reference to the characteristics of the editorial policies of these three newspapers. The timely and active reporting of the daily press in Belgrade indicates that the first Music Biennale Zagreb was promptly recognised as an important modernist musical festival for the then cultural life of the whole of Yugoslavia.
{"title":"Reactions to the first Music Biennale Zagreb (1961) in Belgradian daily newspapers","authors":"Milos Marinkovic","doi":"10.2298/muz2232199m","DOIUrl":"https://doi.org/10.2298/muz2232199m","url":null,"abstract":"As the first festival of contemporary music in socialist Yugoslavia, the Music Biennale Zagreb (founded in 1961) attracted a lot of domestic and foreign media attention. This study discusses the reception of the first Music Biennale in the Belgradian daily newspapers, Politika [Politics], Borba [Struggle] and Vecernje Novosti [Evening News], with reference to the characteristics of the editorial policies of these three newspapers. The timely and active reporting of the daily press in Belgrade indicates that the first Music Biennale Zagreb was promptly recognised as an important modernist musical festival for the then cultural life of the whole of Yugoslavia.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68538006","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 impact of academia on cultural heritage is yet to be scrutinised. The intangible cultural heritage (ICH) constitutes a particularly fragile domain because it is so open to the influence of researchers and bodies of reputation, such as the experts hired for the production of a diplomatic file such as the UNESCO candidacy. In the beginning of the article I offer the institutional overview of ICH and its Portuguese subsidiary. In the second part of the article I detail the Eu?ropean project HeritaMus and its underlying conceptual framework, which was designed to document ICH and tangible cultural assets, creating a simple tool for cooperative curation involving members of the fado community.
{"title":"“Well… if the professor told you so… who am I to disagree?”. The impact of academia on community knowledge and a strategy from the archive","authors":"P. Félix","doi":"10.2298/muz2233021f","DOIUrl":"https://doi.org/10.2298/muz2233021f","url":null,"abstract":"The impact of academia on cultural heritage is yet to be scrutinised. The intangible cultural heritage (ICH) constitutes a particularly fragile domain because it is so open to the influence of researchers and bodies of reputation, such as the experts hired for the production of a diplomatic file such as the UNESCO candidacy. In the beginning of the article I offer the institutional overview of ICH and its Portuguese subsidiary. In the second part of the article I detail the Eu?ropean project HeritaMus and its underlying conceptual framework, which was designed to document ICH and tangible cultural assets, creating a simple tool for cooperative curation involving members of the fado community.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68538799","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 article examines the sacral meaning of the chordophone musical instruments in the scenes of the Mocking of Christ in Serbian medieval art (1166-1459), preserved only in two monumental ensembles - in the church of Christ Pantokrator in Decani Monastery (1338-1339) and in the church of the Holy Archangels Gabriel and Michael in Lesnovo (1346-1347). The instruments in question are one cithara (Byzantine lyre) and one psaltery. Selected examples of the comparative material, as well as the written sources, prove that these musical instruments symbolically point to Christ?s suffering.
{"title":"On the meaning of the chordophone musical instruments in the scenes of the mocking of Christ in Serbian medieval art","authors":"A. Gavrilovic","doi":"10.2298/muz2233193g","DOIUrl":"https://doi.org/10.2298/muz2233193g","url":null,"abstract":"This article examines the sacral meaning of the chordophone musical instruments in the scenes of the Mocking of Christ in Serbian medieval art (1166-1459), preserved only in two monumental ensembles - in the church of Christ Pantokrator in Decani Monastery (1338-1339) and in the church of the Holy Archangels Gabriel and Michael in Lesnovo (1346-1347). The instruments in question are one cithara (Byzantine lyre) and one psaltery. Selected examples of the comparative material, as well as the written sources, prove that these musical instruments symbolically point to Christ?s suffering.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68540373","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}
KARMA, founded in Trabzon (T?rkiye) in 2011, brings together audio-visual archival materials from the Black Sea hinterland. The goal of this article is to pro?mote the epistemological and institutional background and actions of KARMA with its short history, objectives, and current applications for digital preservation. In this context, we will present how KARMA adapts Latour?s actor-network theory, Deleuze and Guattari?s rhizome, and Akat's focus strategy model. We will also stress the importance of both micro and macro perspectives in order to understand the music cultures of the region through historical collections and new connections.
{"title":"Managing Karadeniz music archive (KARMA): Foundations, improvements, and current applications","authors":"Abdullah Akat, Özgün Nural","doi":"10.2298/muz2233053a","DOIUrl":"https://doi.org/10.2298/muz2233053a","url":null,"abstract":"KARMA, founded in Trabzon (T?rkiye) in 2011, brings together audio-visual archival materials from the Black Sea hinterland. The goal of this article is to pro?mote the epistemological and institutional background and actions of KARMA with its short history, objectives, and current applications for digital preservation. In this context, we will present how KARMA adapts Latour?s actor-network theory, Deleuze and Guattari?s rhizome, and Akat's focus strategy model. We will also stress the importance of both micro and macro perspectives in order to understand the music cultures of the region through historical collections and new connections.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68538567","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}
Following recent technological changes, the archival profession will reach the moment of surpassing previously dominant mediaspheres, in which sounds and images were stored in traditionally located archives. This is not to say that tradi?tional archives are not needed anymore - on the contrary. In this article, I will try to bring out the possibilities of upgrading traditional archives with the help of blockchain technology and to analyse the complex navigation between online market and commodification in the world of contemporary ethnomusicological contribution to sound heritage archiving.
{"title":"Preserving and dissemination of digitised sound heritage in contemporary times: The potential of blockchain technology","authors":"D. Stojanović","doi":"10.2298/muz2233073s","DOIUrl":"https://doi.org/10.2298/muz2233073s","url":null,"abstract":"Following recent technological changes, the archival profession will reach the moment of surpassing previously dominant mediaspheres, in which sounds and images were stored in traditionally located archives. This is not to say that tradi?tional archives are not needed anymore - on the contrary. In this article, I will try to bring out the possibilities of upgrading traditional archives with the help of blockchain technology and to analyse the complex navigation between online market and commodification in the world of contemporary ethnomusicological contribution to sound heritage archiving.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68538630","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 Slovenian philologist and folk song researcher Karel Strekelj (1859-1812) was one of the first researchers in Slovenia to recognise the importance and usefulness of a new sound recording method. Based on a detailed study of archival documents and relevant literature, in this article I examine Strekelj?s contribution to folk music research using a new technical device and introducing a new method of sound documentation to field research. By placing his plans and efforts in a broader context of folk song research, one concludes that Strekelj was more ambitious and forward-thinking than many other researchers at the time.
{"title":"Sound recordings and Karel Strekelj: The initiator of a new approach to folk song research in Slovenia","authors":"D. Kunej","doi":"10.2298/muz2233039k","DOIUrl":"https://doi.org/10.2298/muz2233039k","url":null,"abstract":"The Slovenian philologist and folk song researcher Karel Strekelj (1859-1812) was one of the first researchers in Slovenia to recognise the importance and usefulness of a new sound recording method. Based on a detailed study of archival documents and relevant literature, in this article I examine Strekelj?s contribution to folk music research using a new technical device and introducing a new method of sound documentation to field research. By placing his plans and efforts in a broader context of folk song research, one concludes that Strekelj was more ambitious and forward-thinking than many other researchers at the time.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68538502","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 earliest surviving sound evidence of music and musicians from Bulgaria is on commercial gramophone records from the early XX century. Although unique sources for ethnomusicological and historical research, these commercial recordings are little known and almost unexplored. The proposed text sets out to collect and describe information on the first decade of commercial gramophone recordings in Bulgaria. The basis for the research is sound evidence from scholarly and museum archives and private collections; music company catalogues, labels on gramophone records, discographies; and supporting information - texts and advertising images from newspapers, memoirs and memoir literature as primary and secondary sources. The sought ethnomusicological approach is achieved through a combination of different research methods: ethnographic, historical, discographic, cultural, anthropological. The results of the research present the role of commercial recordings in musical and popular culture in Bulgaria in the years leading up to the First World War, cultural life, musical history, musicing, intercultural interactions, the cultural choices of Western and local, Slavic and Balkan, traditional music in non-traditional modern contexts, art music in popular contexts, and the role of professional musicians.
{"title":"Following the black spiral: Old voices, new life (Towards the history of the early commercial gramophone records in Bulgaria)","authors":"Ventsislav Dimov","doi":"10.2298/muz2232019d","DOIUrl":"https://doi.org/10.2298/muz2232019d","url":null,"abstract":"The earliest surviving sound evidence of music and musicians from Bulgaria is on commercial gramophone records from the early XX century. Although unique sources for ethnomusicological and historical research, these commercial recordings are little known and almost unexplored. The proposed text sets out to collect and describe information on the first decade of commercial gramophone recordings in Bulgaria. The basis for the research is sound evidence from scholarly and museum archives and private collections; music company catalogues, labels on gramophone records, discographies; and supporting information - texts and advertising images from newspapers, memoirs and memoir literature as primary and secondary sources. The sought ethnomusicological approach is achieved through a combination of different research methods: ethnographic, historical, discographic, cultural, anthropological. The results of the research present the role of commercial recordings in musical and popular culture in Bulgaria in the years leading up to the First World War, cultural life, musical history, musicing, intercultural interactions, the cultural choices of Western and local, Slavic and Balkan, traditional music in non-traditional modern contexts, art music in popular contexts, and the role of professional musicians.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68538217","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, the territorial frameworks are set with the aim of forming a regional histor?ical synthesis dedicated to the creation of art music in Vojvodina, a synthesis that differs from those offered in previous music historiographies. It can be said that the composers who greatly contributed to the development of the musical life of the Vojvodina communities in the interwar period have made modest contributions to the ?local type? musical modernism. In the second half of the 20th century, they were involved in determining the place of ?new music? within modernism and realism in the Cold War period. The Serbian National Theatre, the Association of Composers of Vojvodina and the Academy of Arts in Novi Sad gave support to compositional practice in Vojvodina after the Second World War.
{"title":"Arti Musices Pannoniarum - the compositional practice in Vojvodina in the social-historical and musico-historical context","authors":"Nemanja Sovtić","doi":"10.2298/muz2233153s","DOIUrl":"https://doi.org/10.2298/muz2233153s","url":null,"abstract":"In this paper, the territorial frameworks are set with the aim of forming a regional histor?ical synthesis dedicated to the creation of art music in Vojvodina, a synthesis that differs from those offered in previous music historiographies. It can be said that the composers who greatly contributed to the development of the musical life of the Vojvodina communities in the interwar period have made modest contributions to the ?local type? musical modernism. In the second half of the 20th century, they were involved in determining the place of ?new music? within modernism and realism in the Cold War period. The Serbian National Theatre, the Association of Composers of Vojvodina and the Academy of Arts in Novi Sad gave support to compositional practice in Vojvodina after the Second World War.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68540050","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 article is the result of my research of Yugoslav pop music discography in the second half of the 1980s, focused on the processes of implementation of digital musical instruments and general-purpose computers into music production - as original sound sources or replacements for acoustic instruments, as well as poetic metaphors and elements of graphic design of record covers. Based on the data available from recording staff listings, interviews with musicians/producers and the listening experience, the paper covers the most prominent examples of aforementioned practices.
{"title":"The presence of computers in Yugoslav popular music of the second half of the 1980s","authors":"Milan Milojković","doi":"10.2298/muz2233173m","DOIUrl":"https://doi.org/10.2298/muz2233173m","url":null,"abstract":"This article is the result of my research of Yugoslav pop music discography in the second half of the 1980s, focused on the processes of implementation of digital musical instruments and general-purpose computers into music production - as original sound sources or replacements for acoustic instruments, as well as poetic metaphors and elements of graphic design of record covers. Based on the data available from recording staff listings, interviews with musicians/producers and the listening experience, the paper covers the most prominent examples of aforementioned practices.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68540230","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 article reviews the tendencies of contemporary musical folklore releases in Lithuania, focusing on the last five years. Based on scientific and journalistic literature, music, and conversations with authors and label owners, the experiential aspect is explored through different ways of creating and releasing music. The period overlaps with the extreme experience of the COVID-19 pandemic, which had impact on some of the tendencies. The article discusses the musical works that best reveal the mentioned aspects and their scope, while using phenomenological-anthropological and musicological approaches.
{"title":"Contemporary Lithuanian musical folklore releases: Widening the experiences","authors":"Eglė Gelažiūtė-Pranevičienė","doi":"10.2298/muz2232143g","DOIUrl":"https://doi.org/10.2298/muz2232143g","url":null,"abstract":"The article reviews the tendencies of contemporary musical folklore releases in Lithuania, focusing on the last five years. Based on scientific and journalistic literature, music, and conversations with authors and label owners, the experiential aspect is explored through different ways of creating and releasing music. The period overlaps with the extreme experience of the COVID-19 pandemic, which had impact on some of the tendencies. The article discusses the musical works that best reveal the mentioned aspects and their scope, while using phenomenological-anthropological and musicological approaches.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68538292","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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