Musical space, as one of the focal preoccupations of composers in the 20th century (especially in its second half), is also present in the works of the composer Anton Webern (1883-1945). Specificities of musical space organisation in his works can be presented as broad register ranges, sudden changes in register, oscillations of the musical flow between intonational and tonal centres and inability to 'anchor' to one stable tonal/intonational/modal area. These characteristics will be viewed through the analysis of his Variations for piano, Op. 27 (1936). The analysis will apply the methodology adapted from Eero Tarasti's semiotics of musical space. According to this methodology, musical space can be 'inner' (refers to the organisation of tonal pitches) and 'outer' (organisation of registers, i.e. textural organisation). Following the key structural moments, the manner of musical space organisation is revealed in the piece.
{"title":"Musical space organisation exemplified by variations for piano op. 27 by Anton Webern","authors":"M. Božanić","doi":"10.5937/ZBAKUM1604110B","DOIUrl":"https://doi.org/10.5937/ZBAKUM1604110B","url":null,"abstract":"Musical space, as one of the focal preoccupations of composers in the 20th century (especially in its second half), is also present in the works of the composer Anton Webern (1883-1945). Specificities of musical space organisation in his works can be presented as broad register ranges, sudden changes in register, oscillations of the musical flow between intonational and tonal centres and inability to 'anchor' to one stable tonal/intonational/modal area. These characteristics will be viewed through the analysis of his Variations for piano, Op. 27 (1936). The analysis will apply the methodology adapted from Eero Tarasti's semiotics of musical space. According to this methodology, musical space can be 'inner' (refers to the organisation of tonal pitches) and 'outer' (organisation of registers, i.e. textural organisation). Following the key structural moments, the manner of musical space organisation is revealed in the piece.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":"110-121"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71214421","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}
Although they are often emphasised as characteristic of contemporary (especially Hollywood) production, which according to many predominantly offers pastiche in service of exploitative tendencies of late capitalism, remaking and serialisation, the stylistic tools that directly correspond to the aforementioned, have in fact a long and rich tradition in world film. Dating back to the silent era, being present in cinematography worldwide even before the 1970s, when the term postmodernism, which usually suggests a crisis in ideology and strongly manifested commercialism became attached to film, today justifyingly notorious, these tools were close to respectable authors, particularly the ones in the so called classical period of film, but in the period of modernism too - remakes being some of the most significant accomplishments. The paper suggests that the problem of quality of the recent production of remakes and sequels is not merely in the roots of these concepts, but in the author's approach, i.e. in the treatment of adaptation of the original.
{"title":"Tradition of remaking and serialisation in world film","authors":"Nikolaj Dejan Kraljačić","doi":"10.5937/ZbAkUm1604206K","DOIUrl":"https://doi.org/10.5937/ZbAkUm1604206K","url":null,"abstract":"Although they are often emphasised as characteristic of contemporary (especially Hollywood) production, which according to many predominantly offers pastiche in service of exploitative tendencies of late capitalism, remaking and serialisation, the stylistic tools that directly correspond to the aforementioned, have in fact a long and rich tradition in world film. Dating back to the silent era, being present in cinematography worldwide even before the 1970s, when the term postmodernism, which usually suggests a crisis in ideology and strongly manifested commercialism became attached to film, today justifyingly notorious, these tools were close to respectable authors, particularly the ones in the so called classical period of film, but in the period of modernism too - remakes being some of the most significant accomplishments. The paper suggests that the problem of quality of the recent production of remakes and sequels is not merely in the roots of these concepts, but in the author's approach, i.e. in the treatment of adaptation of the original.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":"206-219"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71215073","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 is focused on the analysis of the possibilities of a verbal and theoretical understanding of art, adequate to art itself. On the one hand, this problem is considered with regard to the perspectives of contemporary philosophy of art, and on the other, with regard to art itself. The thesis argues that, starting from itself, art has the possibility to acquire an adequate theoretical articulation of its own domain, which opens effectively the perspective of a new concept of theory. At the same time, the paper presents the thesis that modern philosophy of art can claim its legitimacy only by respecting the autonomy of art and the autonomy of the art's own possibility to develop a theoretical discourse concerning art.
{"title":"Art and the problem of theory: Perspectives for verbalization of arts","authors":"Una Popović","doi":"10.5937/ZBAKUM1604039P","DOIUrl":"https://doi.org/10.5937/ZBAKUM1604039P","url":null,"abstract":"The paper is focused on the analysis of the possibilities of a verbal and theoretical understanding of art, adequate to art itself. On the one hand, this problem is considered with regard to the perspectives of contemporary philosophy of art, and on the other, with regard to art itself. The thesis argues that, starting from itself, art has the possibility to acquire an adequate theoretical articulation of its own domain, which opens effectively the perspective of a new concept of theory. At the same time, the paper presents the thesis that modern philosophy of art can claim its legitimacy only by respecting the autonomy of art and the autonomy of the art's own possibility to develop a theoretical discourse concerning art.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":"39-51"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71213924","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 concept of art audience is understood as that, very small, part of population which possesses developed cultural needs and developed and regular cultural practice. Using Guy Debord's words we set a question: What are the chances for the arts compared with the glittering appearances of a spectacle in the modern world in which the tendency towards general banalization dominates? This question is considered as essential for cultural protagonists. Following Nemanjic's theory about cultural needs, we emphasize that the cultural need is formed as a cultural interest, which means that interests have a crucial role in the development of cultural needs, and consequently in cultural consumption. Accordingly, we think that the understanding of the importance of interests as a prerequisite for the development of the art audience is one of the most significant issues in the theory and practice of management in culture. The aim of the paper is to present the concept and its numerous factors in the process of forming and developing interests, as well as to point to the necessity and possibilities of the development of artistic interests, the latter being especially relevant to the management/managers of cultural institutions.
{"title":"Interests: A prerequisite for the development of the art audience","authors":"Dušica Dragin","doi":"10.5937/ZBAKUM1604193D","DOIUrl":"https://doi.org/10.5937/ZBAKUM1604193D","url":null,"abstract":"The concept of art audience is understood as that, very small, part of population which possesses developed cultural needs and developed and regular cultural practice. Using Guy Debord's words we set a question: What are the chances for the arts compared with the glittering appearances of a spectacle in the modern world in which the tendency towards general banalization dominates? This question is considered as essential for cultural protagonists. Following Nemanjic's theory about cultural needs, we emphasize that the cultural need is formed as a cultural interest, which means that interests have a crucial role in the development of cultural needs, and consequently in cultural consumption. Accordingly, we think that the understanding of the importance of interests as a prerequisite for the development of the art audience is one of the most significant issues in the theory and practice of management in culture. The aim of the paper is to present the concept and its numerous factors in the process of forming and developing interests, as well as to point to the necessity and possibilities of the development of artistic interests, the latter being especially relevant to the management/managers of cultural institutions.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":"193-205"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71214462","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 centre of the problem of understanding the process of movement control, incorporated in cognitive biomechanics, is theoretically determined by contemporary physiological and psychological studies, reflecting itself inevitably in cinematography. In this sense, hypothetical questions are imposed: What are the determinants of the relationship between the scientific study of the phenomenon of movement and film art? How to develop an analytical model of the body in motion diagram? What impact does a rapid movement in nature have on the development of cinematic expression? The analysis of locomotion, as a form of human biomechanical movement, leads to the construction of the necessary tool - the camera, implying the creation of scientific films, thereby raising the level of knowledge and observation of the phenomena of motion, transforming it into a contemporary aesthetical model of film art.
{"title":"Chronophotography: engineer of life: Etienne-Jules Marey","authors":"D. Stojmenović","doi":"10.5937/ZBAKUM1604233S","DOIUrl":"https://doi.org/10.5937/ZBAKUM1604233S","url":null,"abstract":"The centre of the problem of understanding the process of movement control, incorporated in cognitive biomechanics, is theoretically determined by contemporary physiological and psychological studies, reflecting itself inevitably in cinematography. In this sense, hypothetical questions are imposed: What are the determinants of the relationship between the scientific study of the phenomenon of movement and film art? How to develop an analytical model of the body in motion diagram? What impact does a rapid movement in nature have on the development of cinematic expression? The analysis of locomotion, as a form of human biomechanical movement, leads to the construction of the necessary tool - the camera, implying the creation of scientific films, thereby raising the level of knowledge and observation of the phenomena of motion, transforming it into a contemporary aesthetical model of film art.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":"233-244"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71215240","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 considers the issues of modernism in the context of contemporariness in the author-work relation. The leitmotif is the appearance of the painted image in the situation of the painter's current viewpoint. The issue of commencing and realization is set as a correlation between the subject-author equipped with the viewpoint and the object-work equipped with the appearance. The theme of commencing is developed through the examples of Aristotle's 'empty mind' and Descartes' methodic doubt that precedes cogito, to grow into the theme of observation exemplified by Husserl's phenomenology and Bergson's interpretation of consciousness. The return to 'commencing' is dealt with in the last chapter devoted to Žunec's explanation of the original meaning of mimesis. The latter was reached through the analysis of Berkeley's 'esse…', as well as Lacan's and Žižek's interpretations of the subject as an 'empty space'. These reflections were aimed at pointing out specific problems of the painting from the author's position and vice verse. Since an appropriate (scholarly) language for this content is nonexistent, it is the metaphorical, as well as philosophical metalanguage that is reached for. In that sense the text is also an attempt of inauguration of a discourse that is an outcome of art practice, to which it is primarily dedicated.
{"title":"The prosody of commencing","authors":"M. Richter","doi":"10.5937/ZBAKUM1604022R","DOIUrl":"https://doi.org/10.5937/ZBAKUM1604022R","url":null,"abstract":"The paper considers the issues of modernism in the context of contemporariness in the author-work relation. The leitmotif is the appearance of the painted image in the situation of the painter's current viewpoint. The issue of commencing and realization is set as a correlation between the subject-author equipped with the viewpoint and the object-work equipped with the appearance. The theme of commencing is developed through the examples of Aristotle's 'empty mind' and Descartes' methodic doubt that precedes cogito, to grow into the theme of observation exemplified by Husserl's phenomenology and Bergson's interpretation of consciousness. The return to 'commencing' is dealt with in the last chapter devoted to Žunec's explanation of the original meaning of mimesis. The latter was reached through the analysis of Berkeley's 'esse…', as well as Lacan's and Žižek's interpretations of the subject as an 'empty space'. These reflections were aimed at pointing out specific problems of the painting from the author's position and vice verse. Since an appropriate (scholarly) language for this content is nonexistent, it is the metaphorical, as well as philosophical metalanguage that is reached for. In that sense the text is also an attempt of inauguration of a discourse that is an outcome of art practice, to which it is primarily dedicated.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"60 1","pages":"22-38"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71214339","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}
Songs-patterns are children's creations dedicated to birds or other animals dear and interesting to the child which reflect children's reaction to nature. In the past they were performed at certain hour, day or place. They have survived in the repertoire of children's folklore to present day despite a strong influence of mass media and modern life tempo, although losing their initial function, and they have become simply a 'cause for children's games and entertainment'. The recorded samples still hold a significant place in traditional vocal musical practice of a number of the Balkan peoples, regardless the fact that some rituals and customs are disappearing. The lexical means and procedures used in songs-patterns have been found in children's folklore in everyday vernacular speech throughout various epochs: since the Roman period, through medieval mysteries, till today. The survival of these creations by children speaks in favour of gradual ethnobiological rapprochement between peoples through music, which can be seen as the future.
{"title":"Songs-patterns of the Romanians in Vojvodina as a subcategory of children's folklore in the light of comparative studies","authors":"Kristina Planjanin-Simić","doi":"10.5937/ZBAKUM1604153P","DOIUrl":"https://doi.org/10.5937/ZBAKUM1604153P","url":null,"abstract":"Songs-patterns are children's creations dedicated to birds or other animals dear and interesting to the child which reflect children's reaction to nature. In the past they were performed at certain hour, day or place. They have survived in the repertoire of children's folklore to present day despite a strong influence of mass media and modern life tempo, although losing their initial function, and they have become simply a 'cause for children's games and entertainment'. The recorded samples still hold a significant place in traditional vocal musical practice of a number of the Balkan peoples, regardless the fact that some rituals and customs are disappearing. The lexical means and procedures used in songs-patterns have been found in children's folklore in everyday vernacular speech throughout various epochs: since the Roman period, through medieval mysteries, till today. The survival of these creations by children speaks in favour of gradual ethnobiological rapprochement between peoples through music, which can be seen as the future.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":"153-167"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71214648","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 author of this paper considers the question whether semiotics can be used as a potential metalanguage that enables reasonable discussion on painting, or that provides a linguistic substitute for visual artworks. In contrast to iconography and iconology which are primarily diachronic disciplines directed to historical aspect of works of art, the semiotics of painting is based on synchronism; it deals with articulation and transformation of visual codes from the point of view of the 'textuality' of the painting. The aim of the text is to sum up the basic problems of the discipline, representing them through the viewpoints of acknowledged authors. Its aim is also to point to the limitations of semiotics of painting, and to its ideological aspects. Finally, the author offers a possible alternative to the semiotics as a metalanguage of painting in the form of geometry (i.e. geometrical analysis), which he compares with Chomsky's model of generative grammar.
{"title":"Metalanguage of painting: Semiotics and geometry as lingua franca of interpreting painting works","authors":"Jagor Bučan","doi":"10.5937/ZBAKUM1604052B","DOIUrl":"https://doi.org/10.5937/ZBAKUM1604052B","url":null,"abstract":"The author of this paper considers the question whether semiotics can be used as a potential metalanguage that enables reasonable discussion on painting, or that provides a linguistic substitute for visual artworks. In contrast to iconography and iconology which are primarily diachronic disciplines directed to historical aspect of works of art, the semiotics of painting is based on synchronism; it deals with articulation and transformation of visual codes from the point of view of the 'textuality' of the painting. The aim of the text is to sum up the basic problems of the discipline, representing them through the viewpoints of acknowledged authors. Its aim is also to point to the limitations of semiotics of painting, and to its ideological aspects. Finally, the author offers a possible alternative to the semiotics as a metalanguage of painting in the form of geometry (i.e. geometrical analysis), which he compares with Chomsky's model of generative grammar.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":"52-65"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71214211","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}
Narrativity in music is seldom connected to the compositions based on aleatoric procedures and the use of sound masses. Yet, it can be demonstrated that the first movement of Witold Lutoslawski's Second Symphony projects a meaningful set of relations which is later called into question and reconfigured, thus meeting at least some of the conditions for narratological approach. The attention is focused on the tone pitch parameter and in that sense it can be noticed that the movement is founded on the alternation of twelve-note aggregate and symmetrical, all-combinatorial hexachord 012678. This description suggests invariance, the lack of directed movement, since both tonal arrays are characterised by a high level of entropy. In spite of this, there is a clear effort to achieve a directed movement, as a result of the procedures used to organise tonal pitches, and, especially, as a result of the treatment of hexachords. The paper will investigate how the flow of events in this movement can be related to the system of mythos - the archetypal narrative categories - as were first defined by the Canadian literary critic Northrop Frye, and adjusted for musical narrative by Byron Almen. The system is based on the intersection of the two fundamental opposites: defeat/victory and order/disorder, resulting in four categories: comedy, romance, irony/satire and tragedy. No matter how paradoxical it may seem, it is the abovementioned entropy that can be considered as the initial order, and its disorder is achieved by attempts to establish directed movement. The ambivalence of archetypal categories and their interweaving is not uncommon in the narrative process. Therefore, the possibility of various interpretations of narrative trajectory will be discussed.
{"title":"There is also a story in Lutosławski: Narrative archetypes in the first movement of Witold Lutosławski's second symphony","authors":"M. Zatkalik","doi":"10.5937/ZBAKUM1604094Z","DOIUrl":"https://doi.org/10.5937/ZBAKUM1604094Z","url":null,"abstract":"Narrativity in music is seldom connected to the compositions based on aleatoric procedures and the use of sound masses. Yet, it can be demonstrated that the first movement of Witold Lutoslawski's Second Symphony projects a meaningful set of relations which is later called into question and reconfigured, thus meeting at least some of the conditions for narratological approach. The attention is focused on the tone pitch parameter and in that sense it can be noticed that the movement is founded on the alternation of twelve-note aggregate and symmetrical, all-combinatorial hexachord 012678. This description suggests invariance, the lack of directed movement, since both tonal arrays are characterised by a high level of entropy. In spite of this, there is a clear effort to achieve a directed movement, as a result of the procedures used to organise tonal pitches, and, especially, as a result of the treatment of hexachords. The paper will investigate how the flow of events in this movement can be related to the system of mythos - the archetypal narrative categories - as were first defined by the Canadian literary critic Northrop Frye, and adjusted for musical narrative by Byron Almen. The system is based on the intersection of the two fundamental opposites: defeat/victory and order/disorder, resulting in four categories: comedy, romance, irony/satire and tragedy. No matter how paradoxical it may seem, it is the abovementioned entropy that can be considered as the initial order, and its disorder is achieved by attempts to establish directed movement. The ambivalence of archetypal categories and their interweaving is not uncommon in the narrative process. Therefore, the possibility of various interpretations of narrative trajectory will be discussed.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":"94-109"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71214366","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}
Music represents a relational category, in the sense that people write meaning into it, and later by the means of the same music they write the meaning into other people. Therefore, I regard music as a cultural construct. Music does not possess universal meanings, but it forms its numerous meanings in different cultural environments, as well as in different individual perceptions. In anthropology, music is not studied in relation to its musical characteristics or aesthetical values. Anthropologists study its role in a wider social system, and strive to understand, by analysing the role of music in a society, the social and cultural system it belongs to - musical structure is less important here. The goal of the paper is to give an overview of the paradigms in ethnology and anthropology which have been used in studying music. In addition, a hypothetical-theoretical framework for studying music in institutions is set. Although the theory of hubs, which is presented here as a potential framework for studying music in institutions, is exemplified by traditional music, it can be applied to any genre of music. The basic theoretical framework offered by the authors Nadia Kiwan and Hanna Mainhof has been supplemented by certain parts which the author thought appropriate for studying music in institutions, both in ethnological and anthropological discourse.
{"title":"Anthropology of music: Paradigms and perspectives","authors":"Miloš Rašić","doi":"10.5937/ZBAKUM1604133R","DOIUrl":"https://doi.org/10.5937/ZBAKUM1604133R","url":null,"abstract":"Music represents a relational category, in the sense that people write meaning into it, and later by the means of the same music they write the meaning into other people. Therefore, I regard music as a cultural construct. Music does not possess universal meanings, but it forms its numerous meanings in different cultural environments, as well as in different individual perceptions. In anthropology, music is not studied in relation to its musical characteristics or aesthetical values. Anthropologists study its role in a wider social system, and strive to understand, by analysing the role of music in a society, the social and cultural system it belongs to - musical structure is less important here. The goal of the paper is to give an overview of the paradigms in ethnology and anthropology which have been used in studying music. In addition, a hypothetical-theoretical framework for studying music in institutions is set. Although the theory of hubs, which is presented here as a potential framework for studying music in institutions, is exemplified by traditional music, it can be applied to any genre of music. The basic theoretical framework offered by the authors Nadia Kiwan and Hanna Mainhof has been supplemented by certain parts which the author thought appropriate for studying music in institutions, both in ethnological and anthropological discourse.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":"133-144"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71214556","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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