The subject of this paper is the unconventional and highly subversive treatment of musical material of folkloric origin in the films of Pedro Almod?var: Pepi, Luci, Bom and Other Girls on the Heap (Pepi, Luci, Bom y otras chicas del mont?n, 1980) and Labyrinth of Passion (Laberinto de pasiones, 1982). These films are representative examples of the director?s experimental artistic poetics based on the interweaving of local and global cultural features. The focus is, therefore, on the folkloric elements of the Spanish and Catalan musical tradition and their transformation and recontextualisation in relation to the socio-political reality of post-fascist Spain. Consequently, well-known theatrical musical pieces and dances such as the pasodoble, zarzuela and sardana acquire transgressive qualities through an unusual play with traditional and postmodern signifiers, aimed at overthrowing conservative patriarchal authority under the Francoist regime.
本文的主题是对佩德罗·阿尔莫德?var: Pepi, Luci, Bom和其他女孩在堆上(Pepi, Luci, Bom)《激情迷宫》(Laberinto de pasiones, 1982)。这些电影都是这位导演的代表作。基于本土与全球文化特征交织的实验艺术诗学。因此，重点是西班牙和加泰罗尼亚音乐传统的民俗元素及其与后法西斯西班牙社会政治现实相关的转型和重新背景化。因此，著名的戏剧音乐作品和舞蹈，如pasodoble, zarzuela和sardana，通过一种不同寻常的传统和后现代符号的游戏，获得了越界的品质，旨在推翻弗朗索瓦政权下的保守父权权威。
{"title":"Between tradition and subversion. Treatment of folklorised musical references in the early feature films of Pedro Almodóvar","authors":"Rastko Buljančević","doi":"10.2298/muz2232161b","DOIUrl":"https://doi.org/10.2298/muz2232161b","url":null,"abstract":"The subject of this paper is the unconventional and highly subversive treatment of musical material of folkloric origin in the films of Pedro Almod?var: Pepi, Luci, Bom and Other Girls on the Heap (Pepi, Luci, Bom y otras chicas del mont?n, 1980) and Labyrinth of Passion (Laberinto de pasiones, 1982). These films are representative examples of the director?s experimental artistic poetics based on the interweaving of local and global cultural features. The focus is, therefore, on the folkloric elements of the Spanish and Catalan musical tradition and their transformation and recontextualisation in relation to the socio-political reality of post-fascist Spain. Consequently, well-known theatrical musical pieces and dances such as the pasodoble, zarzuela and sardana acquire transgressive qualities through an unusual play with traditional and postmodern signifiers, aimed at overthrowing conservative patriarchal authority under the Francoist regime.","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":"68538405","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 article I present a ?manifesto? of the new discipline of applied musicology, which is closely related to the project Applied Musicology and Ethnomusicology in Serbia: Making a Difference in Contemporary Society (APPMES), supported by the Serbian Science Fund. Here I wish to outline some of the main aims and goals of this project and offer a broader insight into what applied musicology should strive to become. In the second part of the article, I present a case study of the Belgrade neighbourhood of Savamala where I conducted fieldwork before formulating the concept of applied musicology; nevertheless, this research is completely aligned with the aims and purposes of the new discipline, and it has helped me to turn my intuitive insights into a comprehensive theoretical concept.
{"title":"Applied musicology: A “manifesto”, and a case study of a lost cultural hub","authors":"I. Medić","doi":"10.2298/muz2233087m","DOIUrl":"https://doi.org/10.2298/muz2233087m","url":null,"abstract":"In this article I present a ?manifesto? of the new discipline of applied musicology, which is closely related to the project Applied Musicology and Ethnomusicology in Serbia: Making a Difference in Contemporary Society (APPMES), supported by the Serbian Science Fund. Here I wish to outline some of the main aims and goals of this project and offer a broader insight into what applied musicology should strive to become. In the second part of the article, I present a case study of the Belgrade neighbourhood of Savamala where I conducted fieldwork before formulating the concept of applied musicology; nevertheless, this research is completely aligned with the aims and purposes of the new discipline, and it has helped me to turn my intuitive insights into a comprehensive theoretical concept.","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":"68538698","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 investigates the connection between the early record industry and the development of copyright legislation in Croatia and the former Yugoslavia between 1929 and the 1960s. Special attention is given to the topic of the implementation of copyright and the related rights within domestic record production in the selected period. The concept of the author, partly constructed through the implementation of copyright, is then reconsidered in the example of early Yugoslavian popular music.
{"title":"The introduction of copyright in the early record industry and implications of authorship for popular music in Croatia from 1929-1960s","authors":"Jelka Vukobratovic","doi":"10.2298/muz2232109v","DOIUrl":"https://doi.org/10.2298/muz2232109v","url":null,"abstract":"The article investigates the connection between the early record industry and the development of copyright legislation in Croatia and the former Yugoslavia between 1929 and the 1960s. Special attention is given to the topic of the implementation of copyright and the related rights within domestic record production in the selected period. The concept of the author, partly constructed through the implementation of copyright, is then reconsidered in the example of early Yugoslavian popular music.","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":"68538050","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 situation for emigre composers in Britain during World War II and afterwards was extremely complicated. British attitudes towards foreigners were highly ambivalent, and this was reflected institutionally, as the policies of the BBC at the time clearly show. This article reflects on the lives and legacy of five foreign composers, all very different from each other, who were, remarkably, discussed by Francis Routh in a book on British music he published in 1972. I attempt to situate these composers over the course of a longer period of time and ask whether such attitudes have in fact truly changed.
{"title":"Ways of living abroad: The foreign composer in Britain after World War II","authors":"I. Moody","doi":"10.2298/muz2130135m","DOIUrl":"https://doi.org/10.2298/muz2130135m","url":null,"abstract":"The situation for emigre composers in Britain during World War II and\u0000 afterwards was extremely complicated. British attitudes towards foreigners\u0000 were highly ambivalent, and this was reflected institutionally, as the\u0000 policies of the BBC at the time clearly show. This article reflects on the\u0000 lives and legacy of five foreign composers, all very different from each\u0000 other, who were, remarkably, discussed by Francis Routh in a book on British\u0000 music he published in 1972. I attempt to situate these composers over the\u0000 course of a longer period of time and ask whether such attitudes have in\u0000 fact truly changed.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43855302","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 addresses the theme of Russian music in the German city of Dresden as it initially related to the virtuosi who had arrived from Russia. After the Revolution of 1917, the roles of Russian emigres, such as Issay Dobrowen, Sergei Rachmaninov, Sergei Jaroff with his Don Cossack Choir, Maria Chebotaryova-Vyrubova and others, grew in significance. On the strength of Russian emigre newspapers, archival documents, reference and research literature, individual events involving Russian music in this city during the inter-war years have been re-created and placed in a broad socio-cultural context.
{"title":"Russian Dresden of the 1920s and 1930s: Profiles of musical, church and social life","authors":"Svetlana Zvereva Georgievna","doi":"10.2298/muz2130035z","DOIUrl":"https://doi.org/10.2298/muz2130035z","url":null,"abstract":"This article addresses the theme of Russian music in the German city of Dresden as it initially related to the virtuosi who had arrived from Russia. After the Revolution of 1917, the roles of Russian emigres, such as Issay Dobrowen, Sergei Rachmaninov, Sergei Jaroff with his Don Cossack Choir, Maria Chebotaryova-Vyrubova and others, grew in significance. On the strength of Russian emigre newspapers, archival documents, reference and research literature, individual events involving Russian music in this city during the inter-war years have been re-created and placed in a broad socio-cultural context.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68536906","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 based on the intersection of studies of performing arts, music and digital media in the field of musicology, which I connected with empirical research of professional musicians' attitudes towards Belgrade concert life in art music in the first year of the coronavirus pandemic (COVID-19). The research was conducted on the basis of a survey in which fifteen concert musicians participated. Given the appropriate theoretical perspective, the considerations are contextualized with respect to global changes of concert life.
{"title":"Musicians' attitudes towards concert activities in the first year of the pandemic: Belgrade context","authors":"Biljana Milanović","doi":"10.2298/muz2131231m","DOIUrl":"https://doi.org/10.2298/muz2131231m","url":null,"abstract":"This paper is based on the intersection of studies of performing arts, music and digital media in the field of musicology, which I connected with empirical research of professional musicians' attitudes towards Belgrade concert life in art music in the first year of the coronavirus pandemic (COVID-19). The research was conducted on the basis of a survey in which fifteen concert musicians participated. Given the appropriate theoretical perspective, the considerations are contextualized with respect to global changes of concert life.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68537499","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}
I investigate constructed social platforms for female jazz instrumentalist, with a particular emphasis on the Balkan cultural space of Southeastern Europe (former Yugoslav countries). In this region, female jazz instrumentalists are confronted with multiple systems of rejection, facing double standards of the Balkan social-ideological patterns, typical for the patriarchal tradition, reproduced and incorporated within a micro context of the already gendered music genre. I analyze the image of female jazz instrumentalist in the public cultural space where jazz is created and consumed. This study presents autoethnographic testimonies as a subjective point of view.
{"title":"Gender perspectives of instrumental jazz performers in southeastern Europe","authors":"J. Jovicevic","doi":"10.2298/muz2130149j","DOIUrl":"https://doi.org/10.2298/muz2130149j","url":null,"abstract":"I investigate constructed social platforms for female jazz instrumentalist, with a particular emphasis on the Balkan cultural space of Southeastern Europe (former Yugoslav countries). In this region, female jazz instrumentalists are confronted with multiple systems of rejection, facing double standards of the Balkan social-ideological patterns, typical for the patriarchal tradition, reproduced and incorporated within a micro context of the already gendered music genre. I analyze the image of female jazz instrumentalist in the public cultural space where jazz is created and consumed. This study presents autoethnographic testimonies as a subjective point of view.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68536517","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 basic thesis of this paper is that 'pause' represents the ontological center of Claude Debussy?s (1862-1918) Syrinx for solo flute (1913). The phenomenon of the musical work is interpreted through an ontological perspective, following Roman Ingarden?s reflections presented in his Ontology of the Work of Art, having also in mind the different modes in which music can exist, that can be read from Ferruccio Busoni?s Sketch of a New Esthetic of Music. Since the programmatic content of Syrinx represents the myth of Pan?s flute, we necessarily introduce Mircea Eliade's explication of the phenomenon of myth, more precisely, of the mythical time, into the theoretical discussion as well.
{"title":"Écoutant la musique de pan: Regarding the ontological horizons of 'Pause' in Claude Debussy’s Syrinx","authors":"M. Tomić","doi":"10.2298/muz2131213t","DOIUrl":"https://doi.org/10.2298/muz2131213t","url":null,"abstract":"The basic thesis of this paper is that 'pause' represents the ontological center of Claude Debussy?s (1862-1918) Syrinx for solo flute (1913). The phenomenon of the musical work is interpreted through an ontological perspective, following Roman Ingarden?s reflections presented in his Ontology of the Work of Art, having also in mind the different modes in which music can exist, that can be read from Ferruccio Busoni?s Sketch of a New Esthetic of Music. Since the programmatic content of Syrinx represents the myth of Pan?s flute, we necessarily introduce Mircea Eliade's explication of the phenomenon of myth, more precisely, of the mythical time, into the theoretical discussion as well.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68537770","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 theories of Boris Asafiev, including musical process, symphonism, and intonatsiya, proved to be hugely influential in the Soviet Union and beyond. While Asafiev?s ideas were widely adopted by theorists and audiences alike, they were also appropriated by a generation of music critics. As composers struggled to come to terms with what might constitute socialist-realist music, critics built a discourse of projecting meaning onto works via Asafiev?s theories. At the same time, multiple theorists developed and expanded his ideas. The picture that emerges is of a multitude of applications and responses to a multivalent body of work that became a vital part of musical discourse in the latter half of the Soviet Union. In this article, I survey the main theories from Boris Asafiev?s writings on music, and their significance after his death. I begin by defining key terms such as symphonism, musical process, and especially intonatsiya. I then discuss the 1948 Zhdanovshchina and Asafiev?s involvement, and the less well-known 1949 discussions on Musicology. For the remainder of the article, I provide examples of key studies from Soviet music theorists using Asafiev?s terms to illustrate how their usage expanded and, in some cases, moved away from Asafiev?s myriad intentions.
{"title":"Boris Asafiev and soviet musical thought: Reputation and influence","authors":"Daniel Elphick","doi":"10.2298/muz2130057e","DOIUrl":"https://doi.org/10.2298/muz2130057e","url":null,"abstract":"The theories of Boris Asafiev, including musical process, symphonism, and intonatsiya, proved to be hugely influential in the Soviet Union and beyond. While Asafiev?s ideas were widely adopted by theorists and audiences alike, they were also appropriated by a generation of music critics. As composers struggled to come to terms with what might constitute socialist-realist music, critics built a discourse of projecting meaning onto works via Asafiev?s theories. At the same time, multiple theorists developed and expanded his ideas. The picture that emerges is of a multitude of applications and responses to a multivalent body of work that became a vital part of musical discourse in the latter half of the Soviet Union. In this article, I survey the main theories from Boris Asafiev?s writings on music, and their significance after his death. I begin by defining key terms such as symphonism, musical process, and especially intonatsiya. I then discuss the 1948 Zhdanovshchina and Asafiev?s involvement, and the less well-known 1949 discussions on Musicology. For the remainder of the article, I provide examples of key studies from Soviet music theorists using Asafiev?s terms to illustrate how their usage expanded and, in some cases, moved away from Asafiev?s myriad intentions.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68536458","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 article part of musical activities of two federal Sokol organizations (JSS and SSKJ) in interwar Yugoslavia will be thoroughly examined. Despite the fact that these organizations were primarily focused on development of gymnastics and certain individual sports, cultural advancement of its members as well as of Yugoslav population also occupied an important place, particularly in the 1930s. As a result of broadening of Sokol?s work, musical amateurism started to gain prominence in Sokol legions, societies and parishes (zupe). This was reflected in the proliferation of Sokol vocal and instrumental ensembles, as well as their performances in various Sokol units, both in urban and rural areas. The flourishing of musical activities among Sokols from different parts of the country led to the change of circumstances in the cultural sphere of these regions, particularly in the undeveloped ones. Among other things, this included giving an impetus to the preservation and popularization of tamburitza orchestras and epic singing to the accompaniment of the gusle, promotion of national and Slavic music repertoire and enrichment and diversification of musical life.
{"title":"Contribution of the Yugoslav Sokol organizations to the interwar sphere of music","authors":"Ivana Vesic","doi":"10.2298/muz2130107v","DOIUrl":"https://doi.org/10.2298/muz2130107v","url":null,"abstract":"In this article part of musical activities of two federal Sokol organizations (JSS and SSKJ) in interwar Yugoslavia will be thoroughly examined. Despite the fact that these organizations were primarily focused on development of gymnastics and certain individual sports, cultural advancement of its members as well as of Yugoslav population also occupied an important place, particularly in the 1930s. As a result of broadening of Sokol?s work, musical amateurism started to gain prominence in Sokol legions, societies and parishes (zupe). This was reflected in the proliferation of Sokol vocal and instrumental ensembles, as well as their performances in various Sokol units, both in urban and rural areas. The flourishing of musical activities among Sokols from different parts of the country led to the change of circumstances in the cultural sphere of these regions, particularly in the undeveloped ones. Among other things, this included giving an impetus to the preservation and popularization of tamburitza orchestras and epic singing to the accompaniment of the gusle, promotion of national and Slavic music repertoire and enrichment and diversification of musical life.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68536478","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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