The Fifth Hellenic Week of Contemporary Music (Athens, 1976) has been mainly considered in the context of a major political event: the fall of the military dictatorship in 1974. However, it may also be seen as a landmark for the transition to a postmodern era in Greece. The musical works presented during the Week, as well as their reception by the musical community are indicative of this transition. This paper aims at exploring those two perspectives and places the emphasis on the second, through an analytical comment on Le Tricot Rouge by Giorgos Kouroupos and the critiques in the press.
{"title":"A national perspective and international threads to postmodernism at the Fifth Hellenic Week of Contemporary Music","authors":"Valia Christopoulou","doi":"10.2298/MUZ1926107C","DOIUrl":"https://doi.org/10.2298/MUZ1926107C","url":null,"abstract":"The Fifth Hellenic Week of Contemporary Music (Athens, 1976) has been mainly considered in the context of a major political event: the fall of the military dictatorship in 1974. However, it may also be seen as a landmark for the transition to a postmodern era in Greece. The musical works presented during the Week, as well as their reception by the musical community are indicative of this transition. This paper aims at exploring those two perspectives and places the emphasis on the second, through an analytical comment on Le Tricot Rouge by Giorgos Kouroupos and the critiques in the press.","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":"68535247","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 considering the chosen topic, I proceed from the complex relationship between music history, music historiography and musicology, focusing on musicology as an interdisciplinary branch of music history. I consider the issue of its future from two viewpoints: 1) from the viewpoint of the future which we can control through professional means, striving for a certain professional vision and the highest professional criteria, and 2) of the future we cannot influence through the profession itself. This aspect of the future is a problem of peripheral musicologies, because these are axiologically dependent on the centre?s relationships towards the Other and scepticism regarding its evaluation.
{"title":"On the future of music history in professional and central-peripheral European musical circumstances","authors":"Mirjana Veselinović-Hofman","doi":"10.2298/muz1926115v","DOIUrl":"https://doi.org/10.2298/muz1926115v","url":null,"abstract":"In considering the chosen topic, I proceed from the complex relationship between music history, music historiography and musicology, focusing on musicology as an interdisciplinary branch of music history. I consider the issue of its future from two viewpoints: 1) from the viewpoint of the future which we can control through professional means, striving for a certain professional vision and the highest professional criteria, and 2) of the future we cannot influence through the profession itself. This aspect of the future is a problem of peripheral musicologies, because these are axiologically dependent on the centre?s relationships towards the Other and scepticism regarding its evaluation.","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":"68535396","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 describes an on-going project, the collaborative Thematic History of Music in Portugal and Brazil; it details its context, rationale, concept, structure and the process that led to its public presentation and preliminary development at CESEM/FCSH, Universidade Nova de Lisboa. The importance of Africa in the understanding of some facets not only of modern popular music, but also of 16th- 18th century genres in Portugal and Brazil is particularly stressed; examples of both polyphonic and instrumental music are given to illustrate this early influence.
{"title":"Beyond nations: A thematic history","authors":"Manuel Pedro","doi":"10.2298/muz1927163f","DOIUrl":"https://doi.org/10.2298/muz1927163f","url":null,"abstract":"This paper describes an on-going project, the collaborative Thematic History of Music in Portugal and Brazil; it details its context, rationale, concept, structure and the process that led to its public presentation and preliminary development at CESEM/FCSH, Universidade Nova de Lisboa. The importance of Africa in the understanding of some facets not only of modern popular music, but also of 16th- 18th century genres in Portugal and Brazil is particularly stressed; examples of both polyphonic and instrumental music are given to illustrate this early influence.","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":"68536157","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}
Silence in film and understanding of silence in the seventh art poses many questions. The results of the analysis of these four films gave their unique answers to the said questions. The unique relationship of silence and sound was considered, and the reason for dedicating equal attention to both ends of this important spectre was to reach better understanding of the films that served as case studies, as well as to understand message or messages that were given to the viewers in conjuction with the action on screen (or lack thereof). Special attention was also given to several elements that, I believe, play vital part in understanding the usage of silence in film, such as: character?s behaviour and body language as well as his appearance, his relationship with other characters, and, maybe most important, the reason why director chose to build specific sound world around the particular character. Jef Costello (Le Samourai), as a character, is defined by his cold exterior, few words and little to no dialogue he exchanges with other characters - silence is inherent to him as a person. Goya?s Ghosts is the perfect example of the biopic that can be built around one specific information from a person?s biography. Of course, I?m speaking of Goya?s loss of hearing which was illustrated in the film via his relationship with other characters and also via the fact that, like Costello, he expresses himself using body language, except it is for entirely different reasons. In the third case study, George Valentin is a character whose profession is silence and who refuses to give it up for the sake of new technological advancement in films - sound, the sole enemy to his professional survival (the very film The Artist is a silent movie depicting this golden era of film history). Last case study provides an insight into the nature of vow of silence, especially in stoic sense of the word. Namely, character Frank Valera takes a vow of silence until he avenges his family and the basis for his vow is the book Meditations which Marcus Aurelius wrote. Equipped with the appropriate theoretical apparatus, these four ?views? on silence show how silence can be understood and presented in diverse ways. Directors may use it to reach better effectiveness of the film they direct and that fact has been, ultimately, manifested through four unique types of silence: 1) silence as the absence of dialogue and as dominant ?sound landscape? of the film, filled with ambient sounds and, therefore, realistic (Le Samourai), 2) loss of auditory world and entrance into the embrace of silence (Goya?s Ghosts), 3) genre-specific silence (The Artist) and 4) stoic silence (Acts of Vengeance).
{"title":"Silentium est aurum: The relationship between silence and sound in film as illustrated by films Le Samourai (1967) Goya’s Ghosts (2006), The Artist (2011) i Acts of Vengeance (2017)","authors":"M. Novaković","doi":"10.2298/MUZ1926143N","DOIUrl":"https://doi.org/10.2298/MUZ1926143N","url":null,"abstract":"Silence in film and understanding of silence in the seventh art poses many questions. The results of the analysis of these four films gave their unique answers to the said questions. The unique relationship of silence and sound was considered, and the reason for dedicating equal attention to both ends of this important spectre was to reach better understanding of the films that served as case studies, as well as to understand message or messages that were given to the viewers in conjuction with the action on screen (or lack thereof). Special attention was also given to several elements that, I believe, play vital part in understanding the usage of silence in film, such as: character?s behaviour and body language as well as his appearance, his relationship with other characters, and, maybe most important, the reason why director chose to build specific sound world around the particular character. Jef Costello (Le Samourai), as a character, is defined by his cold exterior, few words and little to no dialogue he exchanges with other characters - silence is inherent to him as a person. Goya?s Ghosts is the perfect example of the biopic that can be built around one specific information from a person?s biography. Of course, I?m speaking of Goya?s loss of hearing which was illustrated in the film via his relationship with other characters and also via the fact that, like Costello, he expresses himself using body language, except it is for entirely different reasons. In the third case study, George Valentin is a character whose profession is silence and who refuses to give it up for the sake of new technological advancement in films - sound, the sole enemy to his professional survival (the very film The Artist is a silent movie depicting this golden era of film history). Last case study provides an insight into the nature of vow of silence, especially in stoic sense of the word. Namely, character Frank Valera takes a vow of silence until he avenges his family and the basis for his vow is the book Meditations which Marcus Aurelius wrote. Equipped with the appropriate theoretical apparatus, these four ?views? on silence show how silence can be understood and presented in diverse ways. Directors may use it to reach better effectiveness of the film they direct and that fact has been, ultimately, manifested through four unique types of silence: 1) silence as the absence of dialogue and as dominant ?sound landscape? of the film, filled with ambient sounds and, therefore, realistic (Le Samourai), 2) loss of auditory world and entrance into the embrace of silence (Goya?s Ghosts), 3) genre-specific silence (The Artist) and 4) stoic silence (Acts of Vengeance).","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":"68535535","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 refer to a number of examples of powerful manifestations of love for music that routinely fall under the radar of music historians. One of these is the present case study: the 'tenor cult' as a prominent feature of Soviet culture in the 40s and 50s. Discouraged by the authorities and scorned by critics, it led to extravagant behaviour that may seem anomalous for such a regimented society. This potent love for both music and performer was largely female-driven, and it delivered formative, life-defining experiences for many of the participants. I test the suitability of the concept of ?the middlebrow? for analysing this phenomenon and investigate how such studies can contribute to the project of a listeneroriented music history.
{"title":"Music history with love? The hits, the cults, and the snobs","authors":"M. Frolova-Walker","doi":"10.2298/muz1927071f","DOIUrl":"https://doi.org/10.2298/muz1927071f","url":null,"abstract":"In this article I refer to a number of examples of powerful manifestations of love for music that routinely fall under the radar of music historians. One of these is the present case study: the 'tenor cult' as a prominent feature of Soviet culture in the 40s and 50s. Discouraged by the authorities and scorned by critics, it led to extravagant behaviour that may seem anomalous for such a regimented society. This potent love for both music and performer was largely female-driven, and it delivered formative, life-defining experiences for many of the participants. I test the suitability of the concept of ?the middlebrow? for analysing this phenomenon and investigate how such studies can contribute to the project of a listeneroriented music history.","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":"68535569","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 market of Hungary was manipulated by state authorities and the communist party from the 1960s until the 1980s. That distorted environment is the reason why the careers of two of the greatest Hungarian beat stars of the Sixties differed so much: Levente Sz?r?nyi and Zor?n Sztevanovity were both partially or fully of Serbian origin, both were lead singers of their bands, and both were (in the first phase of their career) very careful with politics; however, their Serbian heritage and their family experiences were totally different, which explains their different behaviour during and after the Beat Revolution in Hungary.
{"title":"The “Serbian connection” in the age of the beat revolution in Hungary","authors":"Iván Miklós Szegő","doi":"10.2298/muz1927187s","DOIUrl":"https://doi.org/10.2298/muz1927187s","url":null,"abstract":"The music market of Hungary was manipulated by state authorities and the communist party from the 1960s until the 1980s. That distorted environment is the reason why the careers of two of the greatest Hungarian beat stars of the Sixties differed so much: Levente Sz?r?nyi and Zor?n Sztevanovity were both partially or fully of Serbian origin, both were lead singers of their bands, and both were (in the first phase of their career) very careful with politics; however, their Serbian heritage and their family experiences were totally different, which explains their different behaviour during and after the Beat Revolution in Hungary.","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":"68536178","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 many of its areas, the writing of music history in Germany is characterised by the Romantic music outlook and its ?Two-World-Model?: the real world is seen as opposing the ideal world of music as a higher existence of ideas and ideals. Art music in the emphatic sense, commonly designated as serious music, pretends to represent that ideal world and makes claims to truthfulness. The science of music actually believes it is able to prove the universality of these claims. A large part of musicological publications are characterised by this assumption. However, a public discussion among musicologists as to whether such writings should belong to the field of theology rather than to historico-critical historiography (as a science in the strict sense) is non-existent. As a result, our field has not only disappeared from a public sphere that wishes to leave those claims to small elitist circles, but has also encountered a growing lack of understanding among other disciplines, even to the point of mockery. It would suffice here to refer to the lawyer Bernhard Weck, who wrote with regard to Beethoven?s Opus 112: ?Only musicology could prove that ?political ideas of freedom can be expressed through gestures of sound.??
{"title":"Post-factual music historiography: Legends of art-religion","authors":"H. Loos","doi":"10.2298/MUZ1926091L","DOIUrl":"https://doi.org/10.2298/MUZ1926091L","url":null,"abstract":"In many of its areas, the writing of music history in Germany is characterised by the Romantic music outlook and its ?Two-World-Model?: the real world is seen as opposing the ideal world of music as a higher existence of ideas and ideals. Art music in the emphatic sense, commonly designated as serious music, pretends to represent that ideal world and makes claims to truthfulness. The science of music actually believes it is able to prove the universality of these claims. A large part of musicological publications are characterised by this assumption. However, a public discussion among musicologists as to whether such writings should belong to the field of theology rather than to historico-critical historiography (as a science in the strict sense) is non-existent. As a result, our field has not only disappeared from a public sphere that wishes to leave those claims to small elitist circles, but has also encountered a growing lack of understanding among other disciplines, even to the point of mockery. It would suffice here to refer to the lawyer Bernhard Weck, who wrote with regard to Beethoven?s Opus 112: ?Only musicology could prove that ?political ideas of freedom can be expressed through gestures of sound.??","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":"68535098","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}
Using France as a case-study, this essay calls for enhanced recognition of cultural variegation within nation states in the era of European Romantic nationalism. It outlines a new, integrated and comparative approach to the study of provincial music in a context where national centralisation is the norm. The situation in France, especially during the height of the ?provincial awakening? around 1900, is analysed in light of the ideas of Ivo Strecker and Joep Leerssen on regionalism and ethnic nationalism, and alongside broader questions of cultural decentralisation. Particular attention is drawn to the challenges posed by borderlands, by the intersection of cultural and political ideas, and by the dangers of false separations between high and low cultures at local level.
{"title":"Taking the provinces seriously","authors":"K. Ellis","doi":"10.2298/muz1927051e","DOIUrl":"https://doi.org/10.2298/muz1927051e","url":null,"abstract":"Using France as a case-study, this essay calls for enhanced recognition of cultural variegation within nation states in the era of European Romantic nationalism. It outlines a new, integrated and comparative approach to the study of provincial music in a context where national centralisation is the norm. The situation in France, especially during the height of the ?provincial awakening? around 1900, is analysed in light of the ideas of Ivo Strecker and Joep Leerssen on regionalism and ethnic nationalism, and alongside broader questions of cultural decentralisation. Particular attention is drawn to the challenges posed by borderlands, by the intersection of cultural and political ideas, and by the dangers of false separations between high and low cultures at local level.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"29 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68535446","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}
Is it useful to write history on everyday musical life? And how can we do it? This article introduces a historiographical concept initiated by historians such as Carlo Ginzburg, Alf L?dtke and Richard van D?lmen already in the 1970s, in an attempt to renew the writing of history. Instead of the reconstruction and interpretation of grand narratives and deep structures in society, economy and culture, these historians offer close descriptions of ?average citizens? with their daily musical routines, motivations and preferences, and the result is oft en a cluster of fascinating and wide-ranging insights into different forms of contact with music. Following this general approach, I hope to offer a panorama of everyday musical culture in Hamburg in the early eighteenth century. The sources used for this study include different musical genres such as opera, cantata and instrumental ?table music?, as well as books, newspaper reports, subscription lists, diaries, behavioural guides and archival documents. This material permits insights into the uses made of musicians such as Johann Mattheson, Georg Philipp Telemann and Reinhard Keiser, as well as into the social lives of the Hamburg citizenship.
{"title":"The many faces of everyday musical life: Approaching music history from “below”","authors":"M. Loeser","doi":"10.2298/muz1927031l","DOIUrl":"https://doi.org/10.2298/muz1927031l","url":null,"abstract":"Is it useful to write history on everyday musical life? And how can we do it? This article introduces a historiographical concept initiated by historians such as Carlo Ginzburg, Alf L?dtke and Richard van D?lmen already in the 1970s, in an attempt to renew the writing of history. Instead of the reconstruction and interpretation of grand narratives and deep structures in society, economy and culture, these historians offer close descriptions of ?average citizens? with their daily musical routines, motivations and preferences, and the result is oft en a cluster of fascinating and wide-ranging insights into different forms of contact with music. Following this general approach, I hope to offer a panorama of everyday musical culture in Hamburg in the early eighteenth century. The sources used for this study include different musical genres such as opera, cantata and instrumental ?table music?, as well as books, newspaper reports, subscription lists, diaries, behavioural guides and archival documents. This material permits insights into the uses made of musicians such as Johann Mattheson, Georg Philipp Telemann and Reinhard Keiser, as well as into the social lives of the Hamburg citizenship.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"41 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68535890","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}
Часопис је индексиран на http://doiserbia.nb.rs/, http://dais.sanu.ac.rs/handle/123456789/914 и у међународној бази ProQuest. / The journal is indexed in http://doiserbia.nb.rs/, http://dais.sanu.ac.rs/handle/123456789/914 and in the international database ProQuest. Издавање ове публикације подржали су Министарство културе и информисања Републике Србије, Министарство просвете, науке и технолошког развоја Републике Србије и СОКОЈ - Организација музичких аутора Србије / The publication of this volume was supported by the Ministry of Culture and Information of the Republic of Serbia, the Ministry of Education, Science and Technological Development of the Republic of Serbia and SOKOJ - Serbian Music Authors' Organization
时间索引http://doiserbia.nb.rs/, http://dais.sanu.ac.rs/handle/123456789/914和国际查询数据库。The journal is indexed in http://doiserbia.nb.rs/, http://dais.sanu.ac.rs/handle/123456789/914 and in the international database ProQuest. 这本书的出版得到了塞尔维亚共和国文化和信息部、塞尔维亚共和国教育、科学和技术发展部和塞尔维亚音乐作者组织的支持
{"title":"Композитор револуције: Скрјабинова замисао Мистеријума – тоталног уметничког дела","authors":"Бранислава Трифуновић","doi":"10.2298/MUZ1926161T","DOIUrl":"https://doi.org/10.2298/MUZ1926161T","url":null,"abstract":"Часопис је индексиран на http://doiserbia.nb.rs/, http://dais.sanu.ac.rs/handle/123456789/914 и у међународној бази ProQuest. / The journal is indexed in http://doiserbia.nb.rs/, http://dais.sanu.ac.rs/handle/123456789/914 and in the international database ProQuest. Издавање ове публикације подржали су Министарство културе и информисања Републике Србије, Министарство просвете, науке и технолошког развоја Републике Србије и СОКОЈ - Организација музичких аутора Србије / The publication of this volume was supported by the Ministry of Culture and Information of the Republic of Serbia, the Ministry of Education, Science and Technological Development of the Republic of Serbia and SOKOJ - Serbian Music Authors' Organization","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"16 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68535680","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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