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":null,"pages":null},"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}
The paper deals with the so-called patriarchal - Constantinople ifos in the recent church-singing tradition. Different aspects of this phenomenon are presented, about which numerous stereotypical attitudes have been expressed in different kind of narratives. In considering the phenomenon of ifos in this study, we started from the fact that it was at the center of a dispute between the reformers of the late Byzantine Neum notation - the so-called the ?old method? and the conservative among Constantinople?s renowned singers, who did not accept the ?new method? without resistance. It was also stated that the patriarchal ifos by inertia and not always justifiably attributed to the singers who were active in the Church of St. George on Fanar. Also, arguments were presented in favor of a critical review of contemporary discourses in which the ideologized belief is repeated that the Constantinople throne is the guarantee of any kind of saint church tradition, and thus the patristic Orthodox church music.
{"title":"Patriarchial ifos in the perception of Greek church chanters","authors":"V. Peno","doi":"10.2298/muz2131129p","DOIUrl":"https://doi.org/10.2298/muz2131129p","url":null,"abstract":"The paper deals with the so-called patriarchal - Constantinople ifos in the recent church-singing tradition. Different aspects of this phenomenon are presented, about which numerous stereotypical attitudes have been expressed in different kind of narratives. In considering the phenomenon of ifos in this study, we started from the fact that it was at the center of a dispute between the reformers of the late Byzantine Neum notation - the so-called the ?old method? and the conservative among Constantinople?s renowned singers, who did not accept the ?new method? without resistance. It was also stated that the patriarchal ifos by inertia and not always justifiably attributed to the singers who were active in the Church of St. George on Fanar. Also, arguments were presented in favor of a critical review of contemporary discourses in which the ideologized belief is repeated that the Constantinople throne is the guarantee of any kind of saint church tradition, and thus the patristic Orthodox church music.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68536932","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 we discuss the critical reception of the work of composer Stanojlo Rajicic (1910-2000), whose presence in the public musical life of Belgrade was noted already in the 1920s, when he was a student at the ?Stankovic? Music School and then the Belgrade Music School. The critical reception of his compositional work can be followed for almost seven decades. Performances of Rajicic?s works often provoked controversies and polemics - which speak not only about the composer?s oeuvre itself, but even more so about the state of musical life of Belgrade, Serbia and Yugoslavia in the 20th century. Thus we analyze the reception of Rajicic?s work in the light of historical events that crucially influenced the development of Serbian art music throughout the twentieth century. The article is based on the study of extensive archival material preserved at the Institute of Musicology SASA, Radio Belgrade, as well as private collections.
{"title":"The composer and his critics: The reception of Stanojlo Rajicic’s works in the light of crucial events for the development of Serbian music in the twentieth century","authors":"Miloš Bralović, I. Medić","doi":"10.2298/muz2131059b","DOIUrl":"https://doi.org/10.2298/muz2131059b","url":null,"abstract":"In this article we discuss the critical reception of the work of composer Stanojlo Rajicic (1910-2000), whose presence in the public musical life of Belgrade was noted already in the 1920s, when he was a student at the ?Stankovic? Music School and then the Belgrade Music School. The critical reception of his compositional work can be followed for almost seven decades. Performances of Rajicic?s works often provoked controversies and polemics - which speak not only about the composer?s oeuvre itself, but even more so about the state of musical life of Belgrade, Serbia and Yugoslavia in the 20th century. Thus we analyze the reception of Rajicic?s work in the light of historical events that crucially influenced the development of Serbian art music throughout the twentieth century. The article is based on the study of extensive archival material preserved at the Institute of Musicology SASA, Radio Belgrade, as well as private collections.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68537344","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}
Russian-Serbian cultural connections in a broader sense, represented through direct parallels in Russian and Serbian sacral painting, architectural decoration, sacral interior design and phenomen? in court art canons of the last Romanov?s and Karadjordjevic?s dynasties are insufficiently researched. By using the concrete monuments, mostly in Russian style, Russian symbolism and Art Nouveau, but also the court canon at the turn of the century in Russia through the works of Russian emigrants after the October revolution in Serbia during the 1920s and 1930s, the use of Russian pictorial features and cultural models adapted to Serbian demands is going to be demonstrated.
{"title":"A contribution to researching Russian-Serbian connections in sacral and court painting and architecture through the opera of Russian emigrants in Serbia between the world wars: Examples of adopting Russian models","authors":"Jelena Mežinski-Milovanović","doi":"10.2298/muz2028099m","DOIUrl":"https://doi.org/10.2298/muz2028099m","url":null,"abstract":"Russian-Serbian cultural connections in a broader sense, represented through\u0000 direct parallels in Russian and Serbian sacral painting, architectural\u0000 decoration, sacral interior design and phenomen? in court art canons of the\u0000 last Romanov?s and Karadjordjevic?s dynasties are insufficiently researched.\u0000 By using the concrete monuments, mostly in Russian style, Russian symbolism\u0000 and Art Nouveau, but also the court canon at the turn of the century in\u0000 Russia through the works of Russian emigrants after the October revolution\u0000 in Serbia during the 1920s and 1930s, the use of Russian pictorial features\u0000 and cultural models adapted to Serbian demands is going to be demonstrated.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43251867","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 text summarizes some of the research results from my doctoral dissertation. In the broadest sense, the following text discusses the influence of rhetorical concepts and practices on the composition practice of the Renaissance. The methodological approach is interdisciplinary and multilayered, and it leads to the interpretation of Marian motifs dating from the late fifteenth to the end of the sixteenth century, in the context of rhetorical ideas and principles, and the Marian topic / topos. The most significant result of this text is the formation of a special analytical method by which the interpretive-contextual reading of musical marking is achieved.
{"title":"On the connection of musico-rhetorical strategies and Marian topic/topos in renaissance motets","authors":"Senka Belić","doi":"10.2298/muz2028159b","DOIUrl":"https://doi.org/10.2298/muz2028159b","url":null,"abstract":"The text summarizes some of the research results from my doctoral dissertation. In the broadest sense, the following text discusses the influence of rhetorical concepts and practices on the composition practice of the Renaissance. The methodological approach is interdisciplinary and multilayered, and it leads to the interpretation of Marian motifs dating from the late fifteenth to the end of the sixteenth century, in the context of rhetorical ideas and principles, and the Marian topic / topos. The most significant result of this text is the formation of a special analytical method by which the interpretive-contextual reading of musical marking is achieved.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68535952","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}
MS Hilandar 307, a triodion sticherarion from the late 12th century, is one of the oldest Slavonic manuscripts kept at Hilandar. The manuscript has not survived in its entirety - it is missing the first part which contained stichera of the Lenten cycle; the extant part contains the pentecostarion cycle of stichera. It was written in the Russian recension. The manuscript has probably been kept at the monastery ever since its establishment and could have been even procured by St. Sava at the time of the formation of the monastery library. Its presence at the Serbian monastery confirms that there were no linguistic or practical liturgical obstacles to its use in religious services. Since the Serbian manuscript heritage does not include surviving sticheraria as a type of liturgical book, its content is highly interesting. This paper explores the interrelationship between the sticherarion and corresponding services in the oldest Serbian triodion, copied in the first half of the 13th century and now kept in the National Library of Russia in Saint Petersburg (F. ?. I. 68). Two services were selected as examples - the service for the Mid-Pentecost (Midfeast) and the service to the Holy Fathers of the First Ecumenical Council. An initial careful comparison already revealed the appearance of different translations of the texts shared by both manuscripts. Also, it was found that only a part of stichera in the sticherarion appear in full triodion services, in which stichera make up just one segment of the service as a complex hymnographic ensemble.
MS Hilandar 307是一份12世纪晚期的三重奏乐谱，是保存在Hilandar的最古老的斯拉夫手稿之一。手稿没有完整地保存下来——它丢失了第一部分，其中包含了四旬斋周期的记录;现存部分包含了体表的五旬周期。它写于俄罗斯经济衰退时期。手稿可能自修道院建立以来一直保存在修道院，甚至可能在修道院图书馆形成时由圣萨瓦获得。它在塞尔维亚修道院的存在证实，在宗教仪式中使用它没有语言或实际礼仪障碍。由于塞尔维亚的手稿遗产不包括作为一种礼仪书籍幸存的sticheraria，其内容非常有趣。本文探讨了最古老的塞尔维亚三重奏曲中装饰和相应服务之间的相互关系，该三重奏曲抄写于13世纪上半叶，现保存在圣彼得堡的俄罗斯国家图书馆(f ?i . 68)。两种服务被选为例子-五旬节中期服务(mid - feast)和第一届大公会议的圣父服务。初步的仔细比较已经揭示了两份手稿中文本的不同翻译。此外，研究还发现，在完整的三和弦服务中，只有一部分stichera出现在stichera中，其中stichera仅构成服务的一部分，作为一个复杂的膜片合奏。
{"title":"A Russian triodion sticherarion from the late 12th century - MS Hilandar 307","authors":"Tatjana Subotin-Golubovic","doi":"10.2298/muz2028033s","DOIUrl":"https://doi.org/10.2298/muz2028033s","url":null,"abstract":"MS Hilandar 307, a triodion sticherarion from the late 12th century, is one of the oldest Slavonic manuscripts kept at Hilandar. The manuscript has not survived in its entirety - it is missing the first part which contained stichera of the Lenten cycle; the extant part contains the pentecostarion cycle of stichera. It was written in the Russian recension. The manuscript has probably been kept at the monastery ever since its establishment and could have been even procured by St. Sava at the time of the formation of the monastery library. Its presence at the Serbian monastery confirms that there were no linguistic or practical liturgical obstacles to its use in religious services. Since the Serbian manuscript heritage does not include surviving sticheraria as a type of liturgical book, its content is highly interesting. This paper explores the interrelationship between the sticherarion and corresponding services in the oldest Serbian triodion, copied in the first half of the 13th century and now kept in the National Library of Russia in Saint Petersburg (F. ?. I. 68). Two services were selected as examples - the service for the Mid-Pentecost (Midfeast) and the service to the Holy Fathers of the First Ecumenical Council. An initial careful comparison already revealed the appearance of different translations of the texts shared by both manuscripts. Also, it was found that only a part of stichera in the sticherarion appear in full triodion services, in which stichera make up just one segment of the service as a complex hymnographic ensemble.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68536085","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 manuscript containing the service of St. Lazar Hrebeljanovic was presented to the Russian Tsar in 1550 by the abbot of the Hilandar monastery Paisius. We currently know only two manuscripts containing hymns to the Saint Lazar: RNB, Kir.-Bel. 586/843 (eighth decade of the 16th century) and RBB, f. 379 ? 66 (mid- 17th century). The older source is more complete. It includes stichera of Small and Great Vespers (on Lord I have cried and aposticha), stichera at the Litya, stichera at the end of Psalm 50, aposticha of Matins, as well as exapostilarion and theotokion. In addition, there are indications that two canons have been performed (a total of 31 hymns). In the younger source the chanting repertoire is much smaller - there are only doxastika and , stichera at the end of Psalm 50 (a total of 6 songs). The doxastika presented in these manuscripts have different musical variants.
1550年，希兰达尔修道院派修斯修道院院长将圣拉扎尔·赫雷贝扬诺维奇祈祷的手稿交给了俄国沙皇。我们目前只知道两份包含圣拉扎尔赞美诗的手稿:《RNB》、《kir - bel》。586/843(16世纪的第八个十年)和RBB, f. 379 ?66(17世纪中期)。旧的源代码更完整。它包括小晚祷和大晚祷的记号(主啊，我已经哭过了)，Litya的记号，诗篇50篇结尾的记号，《主祷文》的记号，以及exapostilarion和theotokion。此外，有迹象表明，已经执行了两个正典(共31首赞美诗)。在较年轻的来源中，吟唱曲目要少得多——在诗篇50的末尾只有doxastika和stichera(总共6首歌)。这些手稿中呈现的doxastika有不同的音乐变体。
{"title":"Chants in honour of the Great Martyr Prince Lazar of Serbia in the old Russian notated manuscripts","authors":"Natal'ia Mosiagina Viktorovna","doi":"10.2298/muz2028047v","DOIUrl":"https://doi.org/10.2298/muz2028047v","url":null,"abstract":"The manuscript containing the service of St. Lazar Hrebeljanovic was presented to the Russian Tsar in 1550 by the abbot of the Hilandar monastery Paisius. We currently know only two manuscripts containing hymns to the Saint Lazar: RNB, Kir.-Bel. 586/843 (eighth decade of the 16th century) and RBB, f. 379 ? 66 (mid- 17th century). The older source is more complete. It includes stichera of Small and Great Vespers (on Lord I have cried and aposticha), stichera at the Litya, stichera at the end of Psalm 50, aposticha of Matins, as well as exapostilarion and theotokion. In addition, there are indications that two canons have been performed (a total of 31 hymns). In the younger source the chanting repertoire is much smaller - there are only doxastika and , stichera at the end of Psalm 50 (a total of 6 songs). The doxastika presented in these manuscripts have different musical variants.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68536113","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 complicated political and cultural position of the Serbs who migrated to the Habsburg Monarchy in the early eighteenth century caused the rise of popularity of Russian rulers, who were recognized as protectors of the Orthodox against religious persecution. Political ties were accompanied by a strong Russification of Serbian culture, which was carried out through the mass procurement of Russian liturgical books and the arrival of many Russian teachers to Serbian schools. Ukrainian painters who came to the Metropolitanate of Karlovci brought new forms of baroque religious painting and introduced changes in the structure of the iconostasis. The cult of the Romanov dynasty among Orthodox Serbs in Hungary was amplified by their numerous portraits and engravings.
{"title":"Politics, orthodoxy and arts: Serbian-Russian cultural relations in the 18th century","authors":"V. Šimić","doi":"10.2298/muz2028079s","DOIUrl":"https://doi.org/10.2298/muz2028079s","url":null,"abstract":"The complicated political and cultural position of the Serbs who migrated to the Habsburg Monarchy in the early eighteenth century caused the rise of popularity of Russian rulers, who were recognized as protectors of the Orthodox against religious persecution. Political ties were accompanied by a strong Russification of Serbian culture, which was carried out through the mass procurement of Russian liturgical books and the arrival of many Russian teachers to Serbian schools. Ukrainian painters who came to the Metropolitanate of Karlovci brought new forms of baroque religious painting and introduced changes in the structure of the iconostasis. The cult of the Romanov dynasty among Orthodox Serbs in Hungary was amplified by their numerous portraits and engravings.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68536236","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 the versatile musical activity of Vladimir R. Djordjevic at the turn of the 20 century, his research work on collecting primarily traditional Serbian melodies, the smaller portion of which refers to instrumental music expression, is of particular interest. Beside this, his pioneering effort in the research of the folk instrumentarium, which in the overall methodological concept had no role models in the work of earlier and contemporary folklorists, yielded significant results in the area of ethnoorganography and organophony, collecting folklore material and melographic work, applied research methods (direct ? in the field, and indirect ? through surveys), as well as unique museological activity. Such overall contributions qualify him as our most important enthusiast in the area of ethnoorganology prior to the second half of the 20th century.
在20世纪之交Vladimir R. Djordjevic的多才多艺的音乐活动中，他的研究工作主要是收集传统的塞尔维亚旋律，其中较小的部分是指器乐表达，这是特别有趣的。除此之外，他在民间乐器研究方面的开创性努力，在整体方法论概念上在早期和当代民俗学家的工作中没有榜样，在民族器官学和管风琴学领域取得了重大成果，收集了民俗资料和曲谱工作，应用了研究方法(直接?现场的，还是间接的?通过调查)，以及独特的博物馆活动。如此全面的贡献使他成为20世纪下半叶之前我们在人种器官学领域最重要的爱好者。
{"title":"Vladimir R. Djordjevic’s contribution to the development of ethnoorganology","authors":"Mirjana Zakić","doi":"10.2298/MUZ2029035Z","DOIUrl":"https://doi.org/10.2298/MUZ2029035Z","url":null,"abstract":"In the versatile musical activity of Vladimir R. Djordjevic at the turn of the 20 century, his research work on collecting primarily traditional Serbian melodies, the smaller portion of which refers to instrumental music expression, is of particular interest. Beside this, his pioneering effort in the research of the folk instrumentarium, which in the overall methodological concept had no role models in the work of earlier and contemporary folklorists, yielded significant results in the area of ethnoorganography and organophony, collecting folklore material and melographic work, applied research methods (direct ? in the field, and indirect ? through surveys), as well as unique museological activity. Such overall contributions qualify him as our most important enthusiast in the area of ethnoorganology prior to the second half of the 20th century.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68536641","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}
From November 1939 to March 1941, the monthly magazine ?Slavenska muzika?, a journal of the Association of Friends of Slavic Music, was published in Belgrade. The magazine did not differ from other Serbian magazines of the interwar period in its sections. ?Slavic music? also published essays on music, music criticism, reviews of books and music editions, notes, news, obituaries, and in one case, polemics. However, differentia specifica of this review is the exclusive focus on the music of the Slavic nations. The study provides a review and analysis of the texts in this journal. It was noticed that in ?Slavic music? were crossed the Slavophile idea, which has a long tradition among Serbs, and Marxism, at that time strongly represented by one part of Belgrade musicians. The study also contains an integral bibliography of ?Slavic music?, which has not been published so far.
{"title":"The magazine “Slavenska muzika” (1939–1941) in the history of Serbian music periodicals","authors":"A. Vasić","doi":"10.2298/MUZ2029121V","DOIUrl":"https://doi.org/10.2298/MUZ2029121V","url":null,"abstract":"From November 1939 to March 1941, the monthly magazine ?Slavenska muzika?, a journal of the Association of Friends of Slavic Music, was published in Belgrade. The magazine did not differ from other Serbian magazines of the interwar period in its sections. ?Slavic music? also published essays on music, music criticism, reviews of books and music editions, notes, news, obituaries, and in one case, polemics. However, differentia specifica of this review is the exclusive focus on the music of the Slavic nations. The study provides a review and analysis of the texts in this journal. It was noticed that in ?Slavic music? were crossed the Slavophile idea, which has a long tradition among Serbs, and Marxism, at that time strongly represented by one part of Belgrade musicians. The study also contains an integral bibliography of ?Slavic music?, which has not been published so far.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68536825","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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