Even more than intelligence, creativity is considered as a quintessentially human capacity. The same conclusion is fully applicable to the artistic creation in music sector. However, rapid technological development is constantly challenging not only the creative process as such, but also the legal instruments intended to protect the results of intellectual and artistic work. The first part of this article examines the provisions of the new EU Directive 2019/790 dedicated to online content-sharing service providers and fair remuneration of authors/performers, while its second part maps the main challenges the development of artificial intelligence imposes to the protection of rights in musical works.
{"title":"Creativity and ownership: Protection of rights in musical works in the European Union from digitisation to artificial intelligence","authors":"Uros Cemalovic","doi":"10.2298/MUZ2029149C","DOIUrl":"https://doi.org/10.2298/MUZ2029149C","url":null,"abstract":"Even more than intelligence, creativity is considered as a quintessentially human capacity. The same conclusion is fully applicable to the artistic creation in music sector. However, rapid technological development is constantly challenging not only the creative process as such, but also the legal instruments intended to protect the results of intellectual and artistic work. The first part of this article examines the provisions of the new EU Directive 2019/790 dedicated to online content-sharing service providers and fair remuneration of authors/performers, while its second part maps the main challenges the development of artificial intelligence imposes to the protection of rights in musical works.","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":"68536891","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 juxtaposition of classicism and actuality is a good description of the ambiguous position occupied by the Second Viennese School not only in the eyes of the scholars who research it, but also of composers who can be regarded as its successors. However, in the works and writings originating from the Second Viennese School we find a concentration of problems encountered by contemporary composers, especially the modernist ones. The aim of this article is to examine the role played by the representatives of the Second Viennese School in the reflections of selected twentieth-century composers, concerning their place in music history, the expressive categories present in their work, and their ambiguous attitude to tonality. A separate subject to be explored is the discourse used by contemporary composers to describe the music of their predecessors, full of both analytical categories and vivid metaphors. The quoted composers (Witold Lutos?awski, Gy?rgy Ligeti, Helmut Lachenmann and Jonathan Harvey) may be identified with more-or-less radical modernist views. This article is guided by the thinking of Gianmario Borio and the idea of ?historical appropriation?, according to which analysis of the works of the past helps composers to create their own artistic identities and to define their own place in the history of music.
古典主义和现实性的并置很好地描述了第二维也纳学派所占据的模糊地位，不仅在研究它的学者眼中，而且在可以被视为其继承者的作曲家眼中。然而，在第二维也纳学派的作品和著作中，我们发现当代作曲家，特别是现代主义作曲家遇到的问题集中在一起。本文的目的是研究第二维也纳学派的代表在20世纪选定的作曲家的反思中所扮演的角色，涉及他们在音乐史上的地位，他们作品中存在的表达类别，以及他们对调性的模糊态度。另一个要探讨的主题是当代作曲家用来描述他们前辈音乐的话语，充满了分析范畴和生动的隐喻。引用的作曲家(维托尔德·卢托斯?awski, Gy ?rgy Ligeti, Helmut Lachenmann和Jonathan Harvey)可能或多或少被认为是激进的现代主义观点。本文以博里奥(Gianmario Borio)的思想和“历史挪用”的思想为指导。据此，对过去作品的分析有助于作曲家创造自己的艺术身份，并确定自己在音乐史上的地位。
{"title":"„Tote Aber Leben Länger“. The Second Viennese school and its place in the reflections of selected composers from the second half of the twentieth century (Lutosławski, Ligeti, Lachenmann, Harvey)","authors":"Ewa Schreiber","doi":"10.2298/muz2028173s","DOIUrl":"https://doi.org/10.2298/muz2028173s","url":null,"abstract":"The juxtaposition of classicism and actuality is a good description of the ambiguous position occupied by the Second Viennese School not only in the eyes of the scholars who research it, but also of composers who can be regarded as its successors. However, in the works and writings originating from the Second Viennese School we find a concentration of problems encountered by contemporary composers, especially the modernist ones. The aim of this article is to examine the role played by the representatives of the Second Viennese School in the reflections of selected twentieth-century composers, concerning their place in music history, the expressive categories present in their work, and their ambiguous attitude to tonality. A separate subject to be explored is the discourse used by contemporary composers to describe the music of their predecessors, full of both analytical categories and vivid metaphors. The quoted composers (Witold Lutos?awski, Gy?rgy Ligeti, Helmut Lachenmann and Jonathan Harvey) may be identified with more-or-less radical modernist views. This article is guided by the thinking of Gianmario Borio and the idea of ?historical appropriation?, according to which analysis of the works of the past helps composers to create their own artistic identities and to define their own place in the history of music.","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":"68536789","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}
??Perverting the Taste of the People?: L?utari and the Balkan Question in Romania? considers the term ?Balkan? in the context of Romanian Romani music-making. The expression can be used pejoratively to describe something ?bar-baric? or fractured. In the ?world music? era, ?gypsy-inspired? music from the Balkans has become highly regarded. From this perspective ?Balkan? is seen as something desirable. The article uses the case of the Romanian ?gypsy? band Taraf de Ha?douks in illustration. Romania?s cultural and physical position with- in Europe can be difficult to locate, a discourse reflected in Romanian society itself, where many reject the description of Romania as a ?Balkan? country. This conflict has been contested through manele, a Romanian popular musical genre. In contrast, manele is seen by its detractors as too ?eastern? in character, an unwelcome reminder of earlier Balkan and Ottoman influences on Romanian culture.
？?歪曲人民的口味?: L ?乌塔里和罗马尼亚的巴尔干问题?考虑到巴尔干这个词?在罗马尼亚罗马尼亚音乐制作的背景下。这个表达可以用来贬义地描述某事?或断裂。在世界音乐中?时代,gypsy-inspired ?来自巴尔干半岛的音乐受到高度重视。从这个角度来看?巴尔干?被视为令人向往的东西。这篇文章用了罗马尼亚吉普赛人的例子。乐队Taraf de Ha?插图方面的问题。罗马尼亚吗?罗马尼亚在欧洲的文化和地理位置很难定位，这反映在罗马尼亚社会本身，许多人拒绝将罗马尼亚描述为“巴尔干国家”。的国家。这种冲突通过manele(一种罗马尼亚流行音乐类型)来解决。相比之下，男性气质在批评者看来过于东方化。从本质上讲，这是一个不受欢迎的提醒，让人想起早期巴尔干和奥斯曼对罗马尼亚文化的影响。
{"title":"“Perverting the Taste of the People”: Lăutari and the Balkan Question in Romania","authors":"Roderick Lawford Charles","doi":"10.2298/MUZ2029085L","DOIUrl":"https://doi.org/10.2298/MUZ2029085L","url":null,"abstract":"??Perverting the Taste of the People?: L?utari and the Balkan Question in Romania? considers the term ?Balkan? in the context of Romanian Romani music-making. The expression can be used pejoratively to describe something ?bar-baric? or fractured. In the ?world music? era, ?gypsy-inspired? music from the Balkans has become highly regarded. From this perspective ?Balkan? is seen as something desirable. The article uses the case of the Romanian ?gypsy? band Taraf de Ha?douks in illustration. Romania?s cultural and physical position with- in Europe can be difficult to locate, a discourse reflected in Romanian society itself, where many reject the description of Romania as a ?Balkan? country. This conflict has been contested through manele, a Romanian popular musical genre. In contrast, manele is seen by its detractors as too ?eastern? in character, an unwelcome reminder of earlier Balkan and Ottoman influences on Romanian culture.","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":"68536771","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 deals with the collection of documents belonging to Vladimir R. Djordjevic, which are kept at the National Library of Serbia. These documents are divided in two separate personal funds ? Vladimir?s letters to his brother Tihomir are preserved in the Legacy of Tihomir R. Djordjevic, while photographs and letters addressed to Vladimir Djordjevic are in the Legacy of his nieces Ljubica and Danica S. Jankovic. This material can be a very useful source for research of Djordjevic?s life and work.
本文论述的是保存在塞尔维亚国家图书馆的Vladimir R. Djordjevic的文件收藏。这些文件分散在两个单独的个人基金里?弗拉基米尔?他写给弟弟蒂霍米尔的信件保存在蒂霍米尔·r·乔尔杰维奇的遗产中，而写给弗拉基米尔·乔尔杰维奇的照片和信件则保存在他的侄女柳比卡和丹尼卡·s·扬科维奇的遗产中。这些材料对于研究Djordjevic是非常有用的。生活和工作。
{"title":"Vladimir R. Djordjevic in the National Library of Serbia","authors":"Velibor Prelic","doi":"10.2298/MUZ2029069P","DOIUrl":"https://doi.org/10.2298/MUZ2029069P","url":null,"abstract":"This article deals with the collection of documents belonging to Vladimir R. Djordjevic, which are kept at the National Library of Serbia. These documents are divided in two separate personal funds ? Vladimir?s letters to his brother Tihomir are preserved in the Legacy of Tihomir R. Djordjevic, while photographs and letters addressed to Vladimir Djordjevic are in the Legacy of his nieces Ljubica and Danica S. Jankovic. This material can be a very useful source for research of Djordjevic?s life and work.","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":"68536700","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}
Writing in 1962, Joseph Kerman was the first to speculate about potentially subversive political meanings in the Cantiones sacrae of the English Renaissance composer William Byrd, his two collections of motets published in 1589 and 1591, ?voicing prayers, exhortations, and protests on behalf of the English Catholic community?. Subsequent research has corroborated Kerman?s speculations, showing that many of the texts Byrd set indeed feature the same politically charged metaphors that English Jesuit missionaries used to describe the predicament of Catholics living under the Protestant regime of Queen Elizabeth I, as well as that Byrd maintained close ties with many of these missionaries. In our own time, however, those who have analysed these motets, including Kerman, have paid little attention to this, preferring formal(ist) analytical approaches to this body of music. Focusing on Ne irascaris Domine, one of Byrd?s most famous ?political? motets, and the only two major analytical responses to it, this article attempts to demonstrate the limitations of formalist music analysis when applied to Renaissance sacred music.
{"title":"William Byrd and the limits of formal music analysis","authors":"Žarko Cvejić","doi":"10.2298/muz2028149c","DOIUrl":"https://doi.org/10.2298/muz2028149c","url":null,"abstract":"Writing in 1962, Joseph Kerman was the first to speculate about potentially subversive political meanings in the Cantiones sacrae of the English Renaissance composer William Byrd, his two collections of motets published in 1589 and 1591, ?voicing prayers, exhortations, and protests on behalf of the English Catholic community?. Subsequent research has corroborated Kerman?s speculations, showing that many of the texts Byrd set indeed feature the same politically charged metaphors that English Jesuit missionaries used to describe the predicament of Catholics living under the Protestant regime of Queen Elizabeth I, as well as that Byrd maintained close ties with many of these missionaries. In our own time, however, those who have analysed these motets, including Kerman, have paid little attention to this, preferring formal(ist) analytical approaches to this body of music. Focusing on Ne irascaris Domine, one of Byrd?s most famous ?political? motets, and the only two major analytical responses to it, this article attempts to demonstrate the limitations of formalist music analysis when applied to Renaissance sacred music.","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":"68536405","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 examines the services of Russian and Serbian saints in the context of the General artistic space of Russia during the period when it remained the only Orthodox state. ? significant number of services to the Roman, Byzantine, Russian and Slavic Saints written in the most complete Sticherarions with the subtitle ?D?iach?ie oko?, at that ?hants to Russian and Serbian saints, were created in Russia. Composers based on Byzantine canons, including the structure of services, sequence of chants, orientation to common models. One-type artistic techniques are used in worship services. However, chants differed significantly, as the singers creatively treated poetic texts using different musical methods.
{"title":"Services to Russian and Serbian saints in the context of the Annual Circle of Church singing of the 16th-17th centuries","authors":"Natal'ia Ramazanova Vasil'evna","doi":"10.2298/muz2028061v","DOIUrl":"https://doi.org/10.2298/muz2028061v","url":null,"abstract":"The article examines the services of Russian and Serbian saints in the context of the General artistic space of Russia during the period when it remained the only Orthodox state. ? significant number of services to the Roman, Byzantine, Russian and Slavic Saints written in the most complete Sticherarions with the subtitle ?D?iach?ie oko?, at that ?hants to Russian and Serbian saints, were created in Russia. Composers based on Byzantine canons, including the structure of services, sequence of chants, orientation to common models. One-type artistic techniques are used in worship services. However, chants differed significantly, as the singers creatively treated poetic texts using different musical methods.","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":"68536141","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}
Olivera Mladenovic researched Vlach culture in the 1980s. Recordings preserved in the archive of the Institute of Ethnography SASA also contain examples of vocal practice of the Vlachs from Homolje region (Northeast Serbia). The material was recorded on six audio cassettes, which were later digitized. As ethnomusicological studies of this area are very scarce, the recorded material certainly represents a valuable testimony to the musical culture of the Vlach ethnic community. The aim of this article is to determine the particularities of the recorded examples, based on ethnomusicological analysis and transcription, as well as to isolate the vocal genres found on these audio cassettes. Vocal examples from the recordings of Olivera Mladenovic will be paired with existing examples from the literature, as well as examples of current practice recorded by the author of this article. In this way, at least a partial picture of the Vlachs? musical life in Homol?? from the 1980s to the present day will be established, and the comparison will allow us to observe continuity and change.
{"title":"Vlach vocal traditional music in the region of Homolje from the legacy of Olivera Mladenovic","authors":"Maja Radivojevic","doi":"10.2298/muz2028235r","DOIUrl":"https://doi.org/10.2298/muz2028235r","url":null,"abstract":"Olivera Mladenovic researched Vlach culture in the 1980s. Recordings preserved in the archive of the Institute of Ethnography SASA also contain examples of vocal practice of the Vlachs from Homolje region (Northeast Serbia). The material was recorded on six audio cassettes, which were later digitized. As ethnomusicological studies of this area are very scarce, the recorded material certainly represents a valuable testimony to the musical culture of the Vlach ethnic community. The aim of this article is to determine the particularities of the recorded examples, based on ethnomusicological analysis and transcription, as well as to isolate the vocal genres found on these audio cassettes. Vocal examples from the recordings of Olivera Mladenovic will be paired with existing examples from the literature, as well as examples of current practice recorded by the author of this article. In this way, at least a partial picture of the Vlachs? musical life in Homol?? from the 1980s to the present day will be established, and the comparison will allow us to observe continuity and change.","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":"68536450","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}
After the October Revolution, the Russian tradition of spiritual and folk choral singing was introduced to the whole world by the active work of choirs that appeared in exile. The Don Cossack Choir Sergei Jaroff and the Metropolitan Choir of Alexander Nevsky Cathedral in Paris under Nikolai Afonsky, were two unique choirs that stood out over time. During the interwar period Jaroff?s Choir performed ten times in Belgrade with great success. The capital?s press announced them with great enthusiasm and the first Belgrade concert attracted the attention of significant critics such as Miloje Milojevic, Branko Dragutinovic,Viktor Novak, Jovan Dimitrijevic and Petar Bingulac. The day after their first concert in Belgrade in January 1929, The Don Cossack Choir Serge Jaroff attended a reception at the King Alexander?s Court, who honored them on this occasion. The study of their performances in the 1920s and 1930s in Belgrade is based on domestic periodicals of that time and archival material from the Archives of Yugoslavia.
{"title":"„A Russian choir that Russia had never heard before“: The Don Cossack Choir Serge Jaroff on the concert stage in the interwar Belgrade","authors":"M. Golubović","doi":"10.2298/muz2028125g","DOIUrl":"https://doi.org/10.2298/muz2028125g","url":null,"abstract":"After the October Revolution, the Russian tradition of spiritual and folk choral singing was introduced to the whole world by the active work of choirs that appeared in exile. The Don Cossack Choir Sergei Jaroff and the Metropolitan Choir of Alexander Nevsky Cathedral in Paris under Nikolai Afonsky, were two unique choirs that stood out over time. During the interwar period Jaroff?s Choir performed ten times in Belgrade with great success. The capital?s press announced them with great enthusiasm and the first Belgrade concert attracted the attention of significant critics such as Miloje Milojevic, Branko Dragutinovic,Viktor Novak, Jovan Dimitrijevic and Petar Bingulac. The day after their first concert in Belgrade in January 1929, The Don Cossack Choir Serge Jaroff attended a reception at the King Alexander?s Court, who honored them on this occasion. The study of their performances in the 1920s and 1930s in Belgrade is based on domestic periodicals of that time and archival material from the Archives of Yugoslavia.","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":"68536316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
There are still no argumentative answers about the extent to which and in what way the share of Russian singing practice in Serbian church singing is present. The ways in which the Serbian melody reached Russian singers are not known either. The paper presents the results of research on Russian notated collections kept in Serbian libraries are also presented. Certain stereotypes regarding the crucial Russian influence on the newer Serbian church singing have been critically considered. New research tasks related to Russian musical manuscripts are listed, after which the exchange of singing experiences between Russian and Serbian church singers will become clearer.
{"title":"How much we do (not) know about Russian-Serbian chanting connections","authors":"Vesna Peno Sara","doi":"10.2298/muz2028017p","DOIUrl":"https://doi.org/10.2298/muz2028017p","url":null,"abstract":"There are still no argumentative answers about the extent to which and in what way the share of Russian singing practice in Serbian church singing is present. The ways in which the Serbian melody reached Russian singers are not known either. The paper presents the results of research on Russian notated collections kept in Serbian libraries are also presented. Certain stereotypes regarding the crucial Russian influence on the newer Serbian church singing have been critically considered. New research tasks related to Russian musical manuscripts are listed, after which the exchange of singing experiences between Russian and Serbian church singers will become clearer.","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":"68536061","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}
Vladimir R. Djordjevic (1869?1938), one of the pioneers of Serbian ethnomusicology, achieved outstanding results in various fields; his work is based on Serbian musical folklore. Several dozen of his publications belong to the domain of ethnomusicology, as well as music pedagogy and popularization of folk music. However, for decades, their often very similar titles, as well as numerous repeated and sometimes revised editions, have discouraged researchers from acquiring a clear idea of his overall music-folkloristic contribution. The primary goal of this paper is to create a precondition for a more objective evaluation of Djordjevic?s work, in the context of the time to which he belonged.
Vladimir R. Djordjevic(1869?1938)是塞尔维亚民族音乐学的先驱之一，在各个领域都取得了突出的成绩;他的作品基于塞尔维亚音乐民间传说。他在民族音乐学、音乐教育学和民间音乐普及等领域发表了数十篇著作。然而，几十年来，他们经常非常相似的标题，以及无数重复和有时修订的版本，阻碍了研究人员对他的整体音乐民俗学贡献有一个清晰的认识。本文的主要目的是为更客观地评价Djordjevic?他的作品，在他所处的时代背景下。
{"title":"Vladimir R. Djordjevic’s contribution to Serbian musical folkloristics","authors":"Sanja Radinović, O. D. Golemovic","doi":"10.2298/MUZ2029015R","DOIUrl":"https://doi.org/10.2298/MUZ2029015R","url":null,"abstract":"Vladimir R. Djordjevic (1869?1938), one of the pioneers of Serbian ethnomusicology, achieved outstanding results in various fields; his work is based on Serbian musical folklore. Several dozen of his publications belong to the domain of ethnomusicology, as well as music pedagogy and popularization of folk music. However, for decades, their often very similar titles, as well as numerous repeated and sometimes revised editions, have discouraged researchers from acquiring a clear idea of his overall music-folkloristic contribution. The primary goal of this paper is to create a precondition for a more objective evaluation of Djordjevic?s work, in the context of the time to which he belonged.","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":"68536546","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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