Serbian musicians who were collecting different forms of traditional music at the end of the 19th and the beginning of the 20th century were unable to make audio recordings of the collected material. This conditioned the need to transcribe folk melodies ?by ear? during the very process of interviewing their interlocutors or later ? from memory. Methodology of transformation of sound into an adequate graphic transcription was especially promoted by Vladimir Djordjevic who, in comparison to his predecessors, introduced numerous novelties. This article discusses his approach to the transcription of vocal practices as applied in two large collections: Serbian Folk Melodies (Southern Serbia) and Serbian Folk Melodies (Pre-war Serbia). The fundaments of his work are observed through the analysis of the manner in which Djordjevic transcribed meta-data, as well as from poetic and music texts.
{"title":"Vladimir R. Djordjevic’s contribution to the transcription of vocal practices","authors":"Sandra Ranković","doi":"10.2298/MUZ2029051R","DOIUrl":"https://doi.org/10.2298/MUZ2029051R","url":null,"abstract":"Serbian musicians who were collecting different forms of traditional music at the end of the 19th and the beginning of the 20th century were unable to make audio recordings of the collected material. This conditioned the need to transcribe folk melodies ?by ear? during the very process of interviewing their interlocutors or later ? from memory. Methodology of transformation of sound into an adequate graphic transcription was especially promoted by Vladimir Djordjevic who, in comparison to his predecessors, introduced numerous novelties. This article discusses his approach to the transcription of vocal practices as applied in two large collections: Serbian Folk Melodies (Southern Serbia) and Serbian Folk Melodies (Pre-war Serbia). The fundaments of his work are observed through the analysis of the manner in which Djordjevic transcribed meta-data, as well as from poetic and music texts.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68536672","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 describes the application of one of the most important isometric transformations to the projected metro-rhythmic entities of individual harmonics of the spectrum. It is a direct isometry called central rotation. Central rotation conditions the hemiola structuring of the meter. Hemiolas are identified with regular and irregular geometric figures (primarily triangles) by means of a partition and the composition (index) number of a particular spectral harmonics. The partition and composition of numbers, which are dealt with in discrete mathematics, on the one hand, and, the technique of horizontal hemiolas, characteristic of the polyphony of the sub-Saharan region, on the other, served as a means of creating methods by which the isometric transformation of central rotation would be realized in (musical) time.
{"title":"Central rotation of regular (and irregular) musical poligons","authors":"Dragan Latincic","doi":"10.2298/muz2028205l","DOIUrl":"https://doi.org/10.2298/muz2028205l","url":null,"abstract":"The text describes the application of one of the most important isometric transformations to the projected metro-rhythmic entities of individual harmonics of the spectrum. It is a direct isometry called central rotation. Central rotation conditions the hemiola structuring of the meter. Hemiolas are identified with regular and irregular geometric figures (primarily triangles) by means of a partition and the composition (index) number of a particular spectral harmonics. The partition and composition of numbers, which are dealt with in discrete mathematics, on the one hand, and, the technique of horizontal hemiolas, characteristic of the polyphony of the sub-Saharan region, on the other, served as a means of creating methods by which the isometric transformation of central rotation would be realized in (musical) time.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68536871","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}
It is little known that Nietzsche - appointed professor of classical philology at Basel University in his twenties - had postulated on the basis of rigorous textual studies that the leading classical philologists active in Central Europe in the nineteenth century, predominantly German-speaking, had gone seriously off -track by fitting Greek rhythms into measures of equal length. Unlike the philologists, influential musicologists who wrote about ancient Greek rhythms were mostly French. The Paris Conservatoire was a powerhouse of rhythmic theory, with an impressive lineage from F?tis and Gevaert through Laloy and Emmanuel to Messiaen and beyond. F?tis and Gevaert referenced their contemporary German philologists without really critiquing them. With Laloy, Emmanuel, and Messiaen, however, there was a notable change of orientation. These authors all read as if they had somehow become aware of Nietzsche?s discovery. Yet none of them make any mention of him whatsoever. In this study, a comparative analysis of their musical rendition of Greek rhythms is undertaken before focusing on Messiaen?s analytical proposal that there is an impressively long series of Greek rhythms in Stravinsky?s Le sacre du printemps. I seek to throw light on the resurgence of interest in ancient Greek rhythms in modernist musical works, and question how the convoluted reception of Nietzsche?s discovery in Parisian music circles might have sparked rhythmic innovation to new heights.
{"title":"Ancient Greek rhythms in Messiaen’s le sacre: Nietzsche’s legacy?","authors":"Wai-Ling Cheong","doi":"10.2298/muz1927097c","DOIUrl":"https://doi.org/10.2298/muz1927097c","url":null,"abstract":"It is little known that Nietzsche - appointed professor of classical\u0000 philology at Basel University in his twenties - had postulated on the basis\u0000 of rigorous textual studies that the leading classical philologists active\u0000 in Central Europe in the nineteenth century, predominantly German-speaking,\u0000 had gone seriously off -track by fitting Greek rhythms into measures of\u0000 equal length. Unlike the philologists, influential musicologists who wrote\u0000 about ancient Greek rhythms were mostly French. The Paris Conservatoire was\u0000 a powerhouse of rhythmic theory, with an impressive lineage from F?tis and\u0000 Gevaert through Laloy and Emmanuel to Messiaen and beyond. F?tis and Gevaert\u0000 referenced their contemporary German philologists without really critiquing\u0000 them. With Laloy, Emmanuel, and Messiaen, however, there was a notable\u0000 change of orientation. These authors all read as if they had somehow become\u0000 aware of Nietzsche?s discovery. Yet none of them make any mention of him\u0000 whatsoever. In this study, a comparative analysis of their musical rendition\u0000 of Greek rhythms is undertaken before focusing on Messiaen?s analytical\u0000 proposal that there is an impressively long series of Greek rhythms in\u0000 Stravinsky?s Le sacre du printemps. I seek to throw light on the resurgence\u0000 of interest in ancient Greek rhythms in modernist musical works, and\u0000 question how the convoluted reception of Nietzsche?s discovery in Parisian\u0000 music circles might have sparked rhythmic innovation to new heights.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44190326","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 the invention of language, the phenomenon of Greek herm?neia to biblical exegesis, interpretation is one of the crucial paradigms of culture and civilization. Joined with general ontology, hermeneutics offers original and intuitive theoretical insights. In this paper the author proposes and examines several possibilities of productive influence of ontological hermeneutics on musicological discourse. Starting with the dilemma concerning the relationship on the axis text-being, the first answers have been found in different definitions of discourse. A more elaborate debate continues in the field of ontology, from Aristotle to metaontology. Finally, cross-references that intersect types of hermeneutics/ontology and musical phenomena are offered.
{"title":"Ontological hermeneutics as a catalyst of musicological discourse: A few sketches","authors":"Igor Radeta","doi":"10.2298/MUZ1926183R","DOIUrl":"https://doi.org/10.2298/MUZ1926183R","url":null,"abstract":"From the invention of language, the phenomenon of Greek herm?neia to biblical exegesis, interpretation is one of the crucial paradigms of culture and civilization. Joined with general ontology, hermeneutics offers original and intuitive theoretical insights. In this paper the author proposes and examines several possibilities of productive influence of ontological hermeneutics on musicological discourse. Starting with the dilemma concerning the relationship on the axis text-being, the first answers have been found in different definitions of discourse. A more elaborate debate continues in the field of ontology, from Aristotle to metaontology. Finally, cross-references that intersect types of hermeneutics/ontology and musical phenomena are offered.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68535793","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 music hall in late nineteenth-century Britain offers an example of a cultural institution in which legal measures, in-house regulations, and unscripted codes of behaviour all come into play. At times, the performers or audience were under coercion to act in a certain way, but at other times constraints on behaviour were more indirect, because the music hall created common understanding of what was acceptable or respectable. There is, however, a further complication to consider: sometimes insider notions of what is normative or appropriate come into conflict with outsider concerns about music-hall behaviour. These various pressures are examined in the context of rowdiness, drunkenness, obscenity, and prostitution, and conflicts that result when internal institutional notions of what is normative or appropriate come into conflict with external social anxieties.
{"title":"Music Hall: Regulations and behaviour in a British cultural institution","authors":"B. Scott","doi":"10.2298/MUZ1926061S","DOIUrl":"https://doi.org/10.2298/MUZ1926061S","url":null,"abstract":"The music hall in late nineteenth-century Britain offers an example of a cultural institution in which legal measures, in-house regulations, and unscripted codes of behaviour all come into play. At times, the performers or audience were under coercion to act in a certain way, but at other times constraints on behaviour were more indirect, because the music hall created common understanding of what was acceptable or respectable. There is, however, a further complication to consider: sometimes insider notions of what is normative or appropriate come into conflict with outsider concerns about music-hall behaviour. These various pressures are examined in the context of rowdiness, drunkenness, obscenity, and prostitution, and conflicts that result when internal institutional notions of what is normative or appropriate come into conflict with external social anxieties.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68535018","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 explores the Baltic musicological conferences as a non-hierarchical network and its role and meaning in the changing political and cultural contexts. Starting from 1967, when the first conference took place, the annual meetings of the Baltic musicologists soon became a transnational space for the professional exchange and crosscultural discussion. Based on the results and the impact of cooperation between musicologists of neighbouring countries, the Soviet formation of the national history writing and the development of the Baltic musicological comparativism is discussed, given the political and cultural factors of these changes. The theoretical foundations and cultural aspirations of the concept of national music historiography by Vytautas Landsbergis is highlighted as representative example of the national self-confidence in Lithuanian musicology during the Soviet period.
{"title":"Baltic musicological conferences: National music historiographies and transnationalism","authors":"Rūta Stanevičiūtė","doi":"10.2298/muz1926075s","DOIUrl":"https://doi.org/10.2298/muz1926075s","url":null,"abstract":"The article explores the Baltic musicological conferences as a non-hierarchical network and its role and meaning in the changing political and cultural contexts. Starting from 1967, when the first conference took place, the annual meetings of the Baltic musicologists soon became a transnational space for the professional exchange and crosscultural discussion. Based on the results and the impact of cooperation between musicologists of neighbouring countries, the Soviet formation of the national history writing and the development of the Baltic musicological comparativism is discussed, given the political and cultural factors of these changes. The theoretical foundations and cultural aspirations of the concept of national music historiography by Vytautas Landsbergis is highlighted as representative example of the national self-confidence in Lithuanian musicology during the Soviet period.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68535050","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 denomination singing revolution (coined by Estonian artist Heinz Valk, b. 1936) is commonly used for events in Baltic States between 1987 and 1991 that led to the restoration of the independence of Estonia, Latvia and Lithuania. Three songs - the folk song P?t, v?ji?i! (Blow, Wind!), the choir song Gaismas pils (The Castle of Light) by the national classical composer J?zeps V?tols (1863-1948) and the song Saule, P?rkons, Daugava (Sun, Thunder, Daugava) by the composer M?rti?s Brauns (1951) - at that time in Latvia had a special significance in society. Each song represented references to different layers in Latvian cultural and political history. The characteristics of the three songs in the Singing Revolution process are based on the approach and methodology of distant (objective) analysis of cultural context and recent historical experience. As a result, this article reveals the meaning and reception of the three songs as symbols of nonviolent resistance during the fall of communist regime in Latvia in the late 1980s.
{"title":"Phenomenon of the Baltic singing revolution in 1987-1991: Three Latvian songs as historical symbols of non-violent resistance","authors":"Janis Kudins","doi":"10.2298/MUZ1926027K","DOIUrl":"https://doi.org/10.2298/MUZ1926027K","url":null,"abstract":"The denomination singing revolution (coined by Estonian artist Heinz Valk, b. 1936) is commonly used for events in Baltic States between 1987 and 1991 that led to the restoration of the independence of Estonia, Latvia and Lithuania. Three songs - the folk song P?t, v?ji?i! (Blow, Wind!), the choir song Gaismas pils (The Castle of Light) by the national classical composer J?zeps V?tols (1863-1948) and the song Saule, P?rkons, Daugava (Sun, Thunder, Daugava) by the composer M?rti?s Brauns (1951) - at that time in Latvia had a special significance in society. Each song represented references to different layers in Latvian cultural and political history. The characteristics of the three songs in the Singing Revolution process are based on the approach and methodology of distant (objective) analysis of cultural context and recent historical experience. As a result, this article reveals the meaning and reception of the three songs as symbols of nonviolent resistance during the fall of communist regime in Latvia in the late 1980s.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68535349","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 creation and expansion of commercial music printing from around 1500 has normally led to modern editors assigning textual primacy to published copies of music from the period in preference to any equivalent manuscript copies. However, some groups of manuscript sources, such as the Paston collection, from late 16th and early 17th century England, can shed a different light on contemporary music print culture and its relationship to manuscript copying. Edward Paston?s huge private music library, now dispersed in collections in the UK and US, contains many multiple versions of works he already access to in print form, and the choices he or his copyists made with regard to three particular six-voice Latin motets, Byrd?s Memento homo, Ferrabosco?s In monte Oliveti, and Vaet?s Salve Regina, are examined here, and placed within with their collecting context and likely use.
{"title":"The transmission of motets within the Paston manuscripts, c.1610","authors":"F. Knights","doi":"10.2298/muz1927137k","DOIUrl":"https://doi.org/10.2298/muz1927137k","url":null,"abstract":"The creation and expansion of commercial music printing from around 1500 has normally led to modern editors assigning textual primacy to published copies of music from the period in preference to any equivalent manuscript copies. However, some groups of manuscript sources, such as the Paston collection, from late 16th and early 17th century England, can shed a different light on contemporary music print culture and its relationship to manuscript copying. Edward Paston?s huge private music library, now dispersed in collections in the UK and US, contains many multiple versions of works he already access to in print form, and the choices he or his copyists made with regard to three particular six-voice Latin motets, Byrd?s Memento homo, Ferrabosco?s In monte Oliveti, and Vaet?s Salve Regina, are examined here, and placed within with their collecting context and likely use.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68535712","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 contribution outlines the Balzan Musicology Project (2013-2017) and the published papers arising from its 14 international workshops on global music history. The approach of the project is described as post-eurocentric, uniting music history and ethnomusicology. 29 of the papers address processes of music and modernisation in many countries, pinpointing not only ?Westernisation? but also transculturalism and transnational media. Open questions for a future musicology concern the history concept itself, and the fair distribution of resources and sharing opportunities to all those concerned.
{"title":"The Balzan Musicology Project towards a global history of music, the study of global modernisation, and open questions for the future","authors":"R. Strohm","doi":"10.2298/muz1927015s","DOIUrl":"https://doi.org/10.2298/muz1927015s","url":null,"abstract":"The contribution outlines the Balzan Musicology Project (2013-2017) and the published papers arising from its 14 international workshops on global music history. The approach of the project is described as post-eurocentric, uniting music history and ethnomusicology. 29 of the papers address processes of music and modernisation in many countries, pinpointing not only ?Westernisation? but also transculturalism and transnational media. Open questions for a future musicology concern the history concept itself, and the fair distribution of resources and sharing opportunities to all those concerned.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68535841","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}
Pavle Stefanovic (1901-1985) is one of the most prominent Serbian music critics and essayists. He created extensive musicographic work, largely scattered in periodicals. A philosopher by education, he had an excellent knowledge of music and its history. His style was marked by eloquence, associativity and plasticity of expression. Between 1938 and 1940 he published eighteen music reviews in The Music Herald, the longest-running Belgrade music magazine in the interwar period (1928-1941, with interruption from 1934 to 1938). Stefanovic wrote about concerts, opera and ballet performances in Belgrade, performances by local and eminent foreign artists. His reviews include Magda Tagliaferro, Nathan Milstein, Jacques Thibaud, Enrico Mainardi, Bronis?aw Huberman, Alexander Uninsky, Alexaner Borovsky, Ignaz Friedman, Nikita Magaloff and many other eminent musicians. Th is study is devoted to the analysis of the Stefanovic?s procedure. Pavle Stefanovic was an anti-fascist and left ist. He believed that the task of a music critic was not merely to analyze and evaluate musical works and musical interpretations. He argued that the critic should engage in important social issues that concerned music and music life. That is why he wrote articles on the occasion of German artists visiting Belgrade, about the persecution of musicians of Jewish descent and the cultural situation in the Third Reich. On the other hand, Stefanovic was an aesthetic hedonist who expressed a great sense of the beauty of musical works. Th at duality - a socially engaged intellectual and a subtle ?enjoyer? of the art - remained undisturbed. In these articles he did not go into a deterministic interpretation of the structure of musical composition and the history of music. And he did not accept the larpurlartistic views.
帕夫莱·斯特凡诺维奇(1901-1985)是塞尔维亚最杰出的音乐评论家和散文家之一。他创作了大量的音乐作品，大部分分散在期刊上。作为一名受过教育的哲学家，他对音乐及其历史有着渊博的知识。他的风格以雄辩、联想和表达的可塑性为特点。1938年至1940年间，他在《音乐先驱报》(The music Herald)上发表了18篇音乐评论。《音乐先驱报》是两次世界大战期间(1928年至1941年，1934年至1938年中断)发行时间最长的贝尔格莱德音乐杂志。斯特凡诺维奇写了贝尔格莱德的音乐会、歌剧和芭蕾舞表演，以及当地和著名外国艺术家的表演。他的评论包括Magda Tagliaferro, Nathan Milstein, Jacques Thibaud, Enrico Mainardi, Bronis?胡伯曼、亚历山大·乌宁斯基、亚历山大·波罗夫斯基、伊格纳兹·弗里德曼、尼基塔·马加洛夫和许多其他著名音乐家。本研究致力于分析Stefanovic?年代的过程。帕夫勒·斯特凡诺维奇是一名反法西斯和左翼分子。他认为音乐评论家的任务不仅仅是分析和评价音乐作品和音乐诠释。他认为，评论家应该参与与音乐和音乐生活有关的重要社会问题。这就是为什么他在德国艺术家访问贝尔格莱德的时候写文章，讲述犹太人血统的音乐家受到的迫害和第三帝国的文化状况。另一方面，斯特凡诺维奇是一个审美享乐主义者，他对音乐作品的美感表现出强烈的感觉。这种双重性——一个积极参与社会的知识分子和一个微妙的享受者。艺术的——保持不受干扰。在这些文章中，他没有对音乐作品的结构和音乐史进行决定论的解释。他不接受larpurlarism的观点。
{"title":"Engagement in musical criticism: Pavle Stefanovic’s texts in The Music Herald (1938-1940)","authors":"A. Vasić","doi":"10.2298/muz1927203v","DOIUrl":"https://doi.org/10.2298/muz1927203v","url":null,"abstract":"Pavle Stefanovic (1901-1985) is one of the most prominent Serbian music critics and essayists. He created extensive musicographic work, largely scattered in periodicals. A philosopher by education, he had an excellent knowledge of music and its history. His style was marked by eloquence, associativity and plasticity of expression. Between 1938 and 1940 he published eighteen music reviews in The Music Herald, the longest-running Belgrade music magazine in the interwar period (1928-1941, with interruption from 1934 to 1938). Stefanovic wrote about concerts, opera and ballet performances in Belgrade, performances by local and eminent foreign artists. His reviews include Magda Tagliaferro, Nathan Milstein, Jacques Thibaud, Enrico Mainardi, Bronis?aw Huberman, Alexander Uninsky, Alexaner Borovsky, Ignaz Friedman, Nikita Magaloff and many other eminent musicians. Th is study is devoted to the analysis of the Stefanovic?s procedure. Pavle Stefanovic was an anti-fascist and left ist. He believed that the task of a music critic was not merely to analyze and evaluate musical works and musical interpretations. He argued that the critic should engage in important social issues that concerned music and music life. That is why he wrote articles on the occasion of German artists visiting Belgrade, about the persecution of musicians of Jewish descent and the cultural situation in the Third Reich. On the other hand, Stefanovic was an aesthetic hedonist who expressed a great sense of the beauty of musical works. Th at duality - a socially engaged intellectual and a subtle ?enjoyer? of the art - remained undisturbed. In these articles he did not go into a deterministic interpretation of the structure of musical composition and the history of music. And he did not accept the larpurlartistic views.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68535924","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：