D. Korolija-Crkvenjakov, Snežana Mijić, Željko Mandić
The relationship between painting and photography has been dynamic since its invention in 1839. Seeking its place among the arts, photography was a useful tool for many. In this way portraits were made, which before the invention of photography were the privilege of higher social strata, and their production required spending long hours in a painting studio. With the advent of photography, portraits of individuals and entire families have become much more accessible to ordinary people, and the new technique has gained immense popularity. The possibility of getting portraits from photos as a status symbol was very tempting. In order to respond to such requests from clients, photographic studios teamed up with painters to create oil portraits painted from photography made on canvas. Such portraits became a substitute for classic painted portraits, but they were created faster and were less expensive. Often portraying important historical figures, they have found their place in museum collections. In addition to documentary value, they are also important for the history of art techniques, due to the specific way of production. Despite their popularity at the time of their creation, modern analyses of oil painted portraits made from photography on canvas are rare, and have been published mostly in conservation journals. After the introduction to the techniques and materials described in the literature, the paper presents two oil portraits from a photography made on canvas: a portrait of Isaija Oluić, abbot of the Krupa Monastery, from the fund of the Dalmatian Diocese of the Serbian Orthodox Church, made by Vlaho Bukovac, and a portrait of Nika Mihajlović, prominent Sombor lawyer and philanthropist, from the fund of the City Museum in Sombor, painted by Uroš Predić. The analytical approach to the identification of oil painting techniques from photography (optical analysis and the analysis of materials) was pointed out, as well as the fact that they are sensitive objects in museum collections, the protection of which should be given due attention.
{"title":"Portraits on canvas from photos as a 19th-century portrait making technique","authors":"D. Korolija-Crkvenjakov, Snežana Mijić, Željko Mandić","doi":"10.5937/zbaku2210115k","DOIUrl":"https://doi.org/10.5937/zbaku2210115k","url":null,"abstract":"The relationship between painting and photography has been dynamic since its invention in 1839. Seeking its place among the arts, photography was a useful tool for many. In this way portraits were made, which before the invention of photography were the privilege of higher social strata, and their production required spending long hours in a painting studio. With the advent of photography, portraits of individuals and entire families have become much more accessible to ordinary people, and the new technique has gained immense popularity. The possibility of getting portraits from photos as a status symbol was very tempting. In order to respond to such requests from clients, photographic studios teamed up with painters to create oil portraits painted from photography made on canvas. Such portraits became a substitute for classic painted portraits, but they were created faster and were less expensive. Often portraying important historical figures, they have found their place in museum collections. In addition to documentary value, they are also important for the history of art techniques, due to the specific way of production. Despite their popularity at the time of their creation, modern analyses of oil painted portraits made from photography on canvas are rare, and have been published mostly in conservation journals. After the introduction to the techniques and materials described in the literature, the paper presents two oil portraits from a photography made on canvas: a portrait of Isaija Oluić, abbot of the Krupa Monastery, from the fund of the Dalmatian Diocese of the Serbian Orthodox Church, made by Vlaho Bukovac, and a portrait of Nika Mihajlović, prominent Sombor lawyer and philanthropist, from the fund of the City Museum in Sombor, painted by Uroš Predić. The analytical approach to the identification of oil painting techniques from photography (optical analysis and the analysis of materials) was pointed out, as well as the fact that they are sensitive objects in museum collections, the protection of which should be given due attention.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"24 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82173423","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}
Pasolini's controversial figure, marked by refined and revolutionary leftist ideas, is based on experimental artistic ideals that defy the establishment and conservative ideological thinking. Promoting the de-tabooing of sexuality and a more open attitude towards cultural tradition, the director turned away from mimetic, naturalistic film practices and approached biblico-mythical and ancient themes. The selection of genre and stylistically diverse musical references from The Decameron is, thus, in line with the geographical shift of Boccaccio's humanist ideal from the central to the southern Italian macro-region. The aim of this paper is to determine Pasolini's ambivalent and in some ways subversive treatment of religious and folkloric signifiers of the Italian musical past. Flirting with material and immaterial signifying practices encourages alternative interpretations of spirituality, class antagonisms, folkloric traditions and cleverly profiled and unusual elements of eroticism.
{"title":"Music in Pasolini's The Decameron: Humour, spirituality, (de)tabooisation and playing with conventional signifiers of the Italian musical past","authors":"Rastko Buljančević","doi":"10.5937/zbaku2210130b","DOIUrl":"https://doi.org/10.5937/zbaku2210130b","url":null,"abstract":"Pasolini's controversial figure, marked by refined and revolutionary leftist ideas, is based on experimental artistic ideals that defy the establishment and conservative ideological thinking. Promoting the de-tabooing of sexuality and a more open attitude towards cultural tradition, the director turned away from mimetic, naturalistic film practices and approached biblico-mythical and ancient themes. The selection of genre and stylistically diverse musical references from The Decameron is, thus, in line with the geographical shift of Boccaccio's humanist ideal from the central to the southern Italian macro-region. The aim of this paper is to determine Pasolini's ambivalent and in some ways subversive treatment of religious and folkloric signifiers of the Italian musical past. Flirting with material and immaterial signifying practices encourages alternative interpretations of spirituality, class antagonisms, folkloric traditions and cleverly profiled and unusual elements of eroticism.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"53 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78939109","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the past hundred years, especially in the period after the Second World War, popular culture, and thus popular music, has become a vital part of the daily social life activities of individuals. Through the method of understanding and interpretation, the paper examines the processes of action and influence of popular music. The subject of the paper is to observe the relationships that are established between the individual as the bearer of the creative process in popular music and the social and cultural environment in which the creation process takes place and, in that sense, to determine the contribution of the scientific community in shedding light on these issues. The goal is to establish which factors and in what way they influence popular music, and what is the scope of individual creativity in the process of communication of this musical form with society. The opinion is that the individual creative personality of the author is a necessary, but not a sufficient condition for the creative process in popular music. The influences of society and culture, especially the mass media (radio, television and the Internet), in which it originates, are crucial factors that condition and / or mediate the creation of popular music. Thanks to interdisciplinary endeavours, primarily the synergy of musicology (especially critical musicology) and sociology, the knowledge about popular music has increased significantly in recent decades.
{"title":"Popular music: Individual creativity and social framework","authors":"B. Ilić","doi":"10.5937/zbaku2210202i","DOIUrl":"https://doi.org/10.5937/zbaku2210202i","url":null,"abstract":"In the past hundred years, especially in the period after the Second World War, popular culture, and thus popular music, has become a vital part of the daily social life activities of individuals. Through the method of understanding and interpretation, the paper examines the processes of action and influence of popular music. The subject of the paper is to observe the relationships that are established between the individual as the bearer of the creative process in popular music and the social and cultural environment in which the creation process takes place and, in that sense, to determine the contribution of the scientific community in shedding light on these issues. The goal is to establish which factors and in what way they influence popular music, and what is the scope of individual creativity in the process of communication of this musical form with society. The opinion is that the individual creative personality of the author is a necessary, but not a sufficient condition for the creative process in popular music. The influences of society and culture, especially the mass media (radio, television and the Internet), in which it originates, are crucial factors that condition and / or mediate the creation of popular music. Thanks to interdisciplinary endeavours, primarily the synergy of musicology (especially critical musicology) and sociology, the knowledge about popular music has increased significantly in recent decades.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"45 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73596161","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 subject of this paper is to consider the use of music content from the Internet in the context of free time and its functionalisation in education. The paper will deal with the theoretical problematisation of this topic from an interdisciplinary point of view, uniting andragogico-musicological competencies. In that sense, we will try to further elaborate and supplement the existing theoretical and empirical research, the results of which confirm that education appears as a factor in the use of free time, with concrete examples, that is, case studies (including specific media phenomena - for example, music video or computer games, applications, blogs, and others; but also various music practices that are realised via the Internet - creating, performing music or volunteering, and others.). The authors start from the following theoretical platforms which will be the basis for examining the characteristics and functions of music content from the Internet in the context of free time: first there will be examined special characteristics of free time - difficulty of recognising it, its multiple character, hierarchical organisation and mutual diversity; then the basic functions of free time will be looked at (leisure, entertainment and personal development), as well as educational intensities, spheres and specific content of leisure; in the end, music content from the Internet will be established within the theory of "serious leisure".
{"title":"Music content from the Internet: Educational aspects in the context of leisure","authors":"Bojan Ljujić, Biljana Leković","doi":"10.5937/zbaku2210237l","DOIUrl":"https://doi.org/10.5937/zbaku2210237l","url":null,"abstract":"The subject of this paper is to consider the use of music content from the Internet in the context of free time and its functionalisation in education. The paper will deal with the theoretical problematisation of this topic from an interdisciplinary point of view, uniting andragogico-musicological competencies. In that sense, we will try to further elaborate and supplement the existing theoretical and empirical research, the results of which confirm that education appears as a factor in the use of free time, with concrete examples, that is, case studies (including specific media phenomena - for example, music video or computer games, applications, blogs, and others; but also various music practices that are realised via the Internet - creating, performing music or volunteering, and others.). The authors start from the following theoretical platforms which will be the basis for examining the characteristics and functions of music content from the Internet in the context of free time: first there will be examined special characteristics of free time - difficulty of recognising it, its multiple character, hierarchical organisation and mutual diversity; then the basic functions of free time will be looked at (leisure, entertainment and personal development), as well as educational intensities, spheres and specific content of leisure; in the end, music content from the Internet will be established within the theory of \"serious leisure\".","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"2011 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73424234","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 research presented in this paper begins from the time of turmoil in the field of arts and thinking (about art) in the late 19th and early 20th century. The shift from traditional techniques and operational procedures to modern ones, which is followed back from the time of industrial revolution, contributed to the elimination of art as the relevant operational procedure and consequently to the elimination of the values on which the traditional art survived. Although modern art drew its inspiration from the well of resistance to tradition and social reality in which the masses played an important role, the paper attempts to follow the task the art has inherited from earlier times - the artistic display of sense at the level of image, which differentiates it in the recent cultural, economic and intellectual conditions from the mass industrial production of consumable images. The paper examines the possibility of differentiation of artistic image in postmodern period, at the time of excessive expansion of mass media and electronic simulation techniques, following the realisation that the modernist ideal of progress and the exclusivity of art are unviable. The paper presents the arguments of the philosophers who deny the possibility of art in postmodern era. Contrary to that, it indicates that there is a vast area of artistic production which testifies with its exquisite experiential and cognitive value in the field of image to the need for artistic mimesis and its articulation of reality at the time of simulation.
{"title":"The need for art: The outlines of individuality in the flood of images","authors":"Lamija Neimarlija","doi":"10.5937/zbaku2210099n","DOIUrl":"https://doi.org/10.5937/zbaku2210099n","url":null,"abstract":"The research presented in this paper begins from the time of turmoil in the field of arts and thinking (about art) in the late 19th and early 20th century. The shift from traditional techniques and operational procedures to modern ones, which is followed back from the time of industrial revolution, contributed to the elimination of art as the relevant operational procedure and consequently to the elimination of the values on which the traditional art survived. Although modern art drew its inspiration from the well of resistance to tradition and social reality in which the masses played an important role, the paper attempts to follow the task the art has inherited from earlier times - the artistic display of sense at the level of image, which differentiates it in the recent cultural, economic and intellectual conditions from the mass industrial production of consumable images. The paper examines the possibility of differentiation of artistic image in postmodern period, at the time of excessive expansion of mass media and electronic simulation techniques, following the realisation that the modernist ideal of progress and the exclusivity of art are unviable. The paper presents the arguments of the philosophers who deny the possibility of art in postmodern era. Contrary to that, it indicates that there is a vast area of artistic production which testifies with its exquisite experiential and cognitive value in the field of image to the need for artistic mimesis and its articulation of reality at the time of simulation.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"20 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78489974","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}
Damir Bartol Indoš is one of the still active veterans of the experimental theatre in Yugoslavia, and Oliver Frljić is one of the most important directors in today's post-Yugoslav space-time. The paper comparatively analyses two radical and in many ways mutually opposed types of politics and the corresponding aesthetico-poetic apparatus. These differences stem primarily from two completely different conceptions of the community, and consequently the ethico-political habitus that Indoš and Frljić affirm, both in their performances and beyond the artistic framework. Their poetics and actions, and to some extent methods, could be roughly based on the legacy of Artaud, with Frljić, and Brecht, with Indoš, but on many nodes of postdramatic aesthetics, these two poetico-aesthetic lines are met with both of them. Also, this paper tends to show that Artaud's and Brecht's theatre are not as distant as it is emphasised in textbooks, that is, it is insisted on the fact that their aesthetico-poetic, and especially ethico-political heritage is inseparably complementary. The opuses of Frljić and Indoš are also, after the initial distinction, approached with an emphasis on common points that may not be noticeable at first glance, but are clearly discernible from certain perspectives. Their different conceptions and artistic reflections of the community, on the other hand, are broken down into categories that differ in quality and scope - family, theatre, world - but within which, as in onion, relations remain structurally the same.
{"title":"Family, theatre, world: Understanding community in the plays of Oliver Frljić and Damir Bartol Indoš","authors":"Agata Juniku","doi":"10.5937/zbaku2210036j","DOIUrl":"https://doi.org/10.5937/zbaku2210036j","url":null,"abstract":"Damir Bartol Indoš is one of the still active veterans of the experimental theatre in Yugoslavia, and Oliver Frljić is one of the most important directors in today's post-Yugoslav space-time. The paper comparatively analyses two radical and in many ways mutually opposed types of politics and the corresponding aesthetico-poetic apparatus. These differences stem primarily from two completely different conceptions of the community, and consequently the ethico-political habitus that Indoš and Frljić affirm, both in their performances and beyond the artistic framework. Their poetics and actions, and to some extent methods, could be roughly based on the legacy of Artaud, with Frljić, and Brecht, with Indoš, but on many nodes of postdramatic aesthetics, these two poetico-aesthetic lines are met with both of them. Also, this paper tends to show that Artaud's and Brecht's theatre are not as distant as it is emphasised in textbooks, that is, it is insisted on the fact that their aesthetico-poetic, and especially ethico-political heritage is inseparably complementary. The opuses of Frljić and Indoš are also, after the initial distinction, approached with an emphasis on common points that may not be noticeable at first glance, but are clearly discernible from certain perspectives. Their different conceptions and artistic reflections of the community, on the other hand, are broken down into categories that differ in quality and scope - family, theatre, world - but within which, as in onion, relations remain structurally the same.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"46 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74338557","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 aim of this article is to present selected aspects of medicalization and politicization of the female body as a theme in contemporary Croatian drama and theatre. Our analysis presents artistic proposals discussing women's reproductive functions and dysfunctions (such as pathology of pregnancy, the destructive power of the pregnancy metaphor, physiology and philosophy of pregnancy, infertility and in vitro) illustrated by four plays written by women playwrights from Croatia. The exemplification is an abridged overview of the most representative textual-theatrical strategies in the socially and politically engaged "ginedramas" (ginodrame). Three acclaimed writers and directors, Lada Kaštelan (Before Sleep, original: Prije sna, 2005), Ivana Sajko (Woman Bomb, original: Žena-bomba, 2003; Landscape with the Fall, original: Krajolik s padom, 2011) and Magdalena Lupi Alvir (Barren, original: Jalova, 2011), deal with the fundamental questions of woman's existence, combining elements of art and medicine. Some matrophoras, i.e., metaphors of motherhood and mother-child relations which demystify and reinterpret female physiology, are analysed in the text.
{"title":"The discourse of female body in contemporary Croatian women's playwriting and theatre","authors":"Magdalena Koch, Gabriela Abrasowicz","doi":"10.5937/zbaku2210068k","DOIUrl":"https://doi.org/10.5937/zbaku2210068k","url":null,"abstract":"The aim of this article is to present selected aspects of medicalization and politicization of the female body as a theme in contemporary Croatian drama and theatre. Our analysis presents artistic proposals discussing women's reproductive functions and dysfunctions (such as pathology of pregnancy, the destructive power of the pregnancy metaphor, physiology and philosophy of pregnancy, infertility and in vitro) illustrated by four plays written by women playwrights from Croatia. The exemplification is an abridged overview of the most representative textual-theatrical strategies in the socially and politically engaged \"ginedramas\" (ginodrame). Three acclaimed writers and directors, Lada Kaštelan (Before Sleep, original: Prije sna, 2005), Ivana Sajko (Woman Bomb, original: Žena-bomba, 2003; Landscape with the Fall, original: Krajolik s padom, 2011) and Magdalena Lupi Alvir (Barren, original: Jalova, 2011), deal with the fundamental questions of woman's existence, combining elements of art and medicine. Some matrophoras, i.e., metaphors of motherhood and mother-child relations which demystify and reinterpret female physiology, are analysed in the text.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89908779","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 subject of analysis is the contemporary opera Madame Curie (2010) by the Polish composer Elżbieta Sikora, premiered in 2011 in Paris. In an extremely emotional way, using innovative techniques for expression, the composer tells the story of the scientist Maria Skłodowska-Curie in the form of a script for the opera, with anxiety as the main idea of the libretto. This dramatic work is an example of an intermedia work in which the composer uses electronic media alongside traditional instruments. The composition is an intermedia spectacle revealing the symbolic significance of the sound emission interacting with the libretto, choreography, lighting, ancient Greek theatre form and an electronic medium. Despite being divided into scenes, the piece was directed using a single set representing the laboratory of the Polish Nobel Prize winner. The director patterned the staging of this opera after Greek theatre: for action on stage, the whole proscenium was used, and the orchestra was seated at the back of the stage (not in the orchestra pit), the soloists at the front, next to the spectators, while the conductor led the ensemble with the help of a video camera, not seeing the soloists. The chorus was amphitheatrically seated on chairs on both sides of the stage to follow the action on stage with the eye of a censor. Every role required of its actor great craft, extraordinary skill and professionalism. The aim of the presentation will have been a multi-aspect analysis and interpretation of the score and the recording of the opera, as well as a discussion of the characteristics of voice projection in this complex work. The article presents a comprehensive analysis and interpretation of the opera's score and recordng.
{"title":"Bordering on monodrama… Madame Curie by Elżbieta Sikora","authors":"Monika Karwaszewska","doi":"10.5937/zbaku2210152k","DOIUrl":"https://doi.org/10.5937/zbaku2210152k","url":null,"abstract":"The subject of analysis is the contemporary opera Madame Curie (2010) by the Polish composer Elżbieta Sikora, premiered in 2011 in Paris. In an extremely emotional way, using innovative techniques for expression, the composer tells the story of the scientist Maria Skłodowska-Curie in the form of a script for the opera, with anxiety as the main idea of the libretto. This dramatic work is an example of an intermedia work in which the composer uses electronic media alongside traditional instruments. The composition is an intermedia spectacle revealing the symbolic significance of the sound emission interacting with the libretto, choreography, lighting, ancient Greek theatre form and an electronic medium. Despite being divided into scenes, the piece was directed using a single set representing the laboratory of the Polish Nobel Prize winner. The director patterned the staging of this opera after Greek theatre: for action on stage, the whole proscenium was used, and the orchestra was seated at the back of the stage (not in the orchestra pit), the soloists at the front, next to the spectators, while the conductor led the ensemble with the help of a video camera, not seeing the soloists. The chorus was amphitheatrically seated on chairs on both sides of the stage to follow the action on stage with the eye of a censor. Every role required of its actor great craft, extraordinary skill and professionalism. The aim of the presentation will have been a multi-aspect analysis and interpretation of the score and the recording of the opera, as well as a discussion of the characteristics of voice projection in this complex work. The article presents a comprehensive analysis and interpretation of the opera's score and recordng.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"72 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75728774","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}
Ethnomusicological research is often focused on the study of individuals recognised as prominent musical innovators of their time, and fieldwork, as a fundamental method, is a meeting point of individuals and researchers. Direct encounters lead to interaction between interlocutors, that is, the selected individual, and ethnomusicologists, while indirect contacts include temporal and / or spatial distance, and are reduced to the study of certain biographical data, scores, transcriptions, audio / video recordings and other resources. In that sense, the study of the material legacy of Maksa Popov (1910-1973), published materials, as well as verbal statements of people who were in direct contact with him, sheds light not only on his biography, but also the potential reconstruction of tamburitza practice in Belgrade in the mid-20th century. The period of his activity was marked by significant socio-historical upheavals on the global and local level alike. All these circumstances inevitably affected the life and creative reach of Maksa Popov. Since he spent most of his professional career in Radio Belgrade (first as a musician in the Tamburitza Orchestra conducted by Aleksandar Aranicki, then as Artistic Director of the Radio Belgrade Tamburitza Orchestra, and finally, as a music producer and important figure in institutionalising show business networks), Maksa Popov's musical ethnography opens the possibility of perceiving a broader picture of tamburitza in the context of Belgrade before and after the Second World War.
{"title":"Maksa Popov and tamburitza practice in Belgrade in the mid-20th century","authors":"Julijana Baštić","doi":"10.5937/zbaku2210217b","DOIUrl":"https://doi.org/10.5937/zbaku2210217b","url":null,"abstract":"Ethnomusicological research is often focused on the study of individuals recognised as prominent musical innovators of their time, and fieldwork, as a fundamental method, is a meeting point of individuals and researchers. Direct encounters lead to interaction between interlocutors, that is, the selected individual, and ethnomusicologists, while indirect contacts include temporal and / or spatial distance, and are reduced to the study of certain biographical data, scores, transcriptions, audio / video recordings and other resources. In that sense, the study of the material legacy of Maksa Popov (1910-1973), published materials, as well as verbal statements of people who were in direct contact with him, sheds light not only on his biography, but also the potential reconstruction of tamburitza practice in Belgrade in the mid-20th century. The period of his activity was marked by significant socio-historical upheavals on the global and local level alike. All these circumstances inevitably affected the life and creative reach of Maksa Popov. Since he spent most of his professional career in Radio Belgrade (first as a musician in the Tamburitza Orchestra conducted by Aleksandar Aranicki, then as Artistic Director of the Radio Belgrade Tamburitza Orchestra, and finally, as a music producer and important figure in institutionalising show business networks), Maksa Popov's musical ethnography opens the possibility of perceiving a broader picture of tamburitza in the context of Belgrade before and after the Second World War.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"87 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85845943","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 is dedicated to the publications of Ljubomir Micić and Branko Ve Poljanski in Maska, the Ljubljana performing arts journal from 1920. While with his engagement in Maska Micić primarily wanted to present himself as a writer outside Zagreb (first, he published in Maska a review of the play Anfisa, and then his own play Istočni Greh was reviewed), Poljanski used his engagement in Maska for a polemic with Ljubljana critics, to later continue his critical response to Ljubljana's artistic milieu in his journal Svetokret, as well as in Zenit. Moreover, one of Poljanski's main motives for publishing an independent journal in Ljubljana was the continuation of the polemic he had started in Maska. Therefore, this article presents the assumption that for a complete genealogy of the beginnings of cooperation between Slovenian avantgarde and representatives of Yugoslav zenithism, it is necessary to take into account Maska, although it was not considered a revolutionary or avant-garde journal. Yet, its aspiration to become international and its openness to different languages and polemics contributed to the exchange of opinions about art and criticism of the time, which was a fruitful ground for the development of relations between various representatives of the Yugoslav avant-garde and their independent actions.
这篇文章是献给Ljubomir micicic和Branko Ve Poljanski在1920年卢布尔雅那表演艺术杂志《Maska》上发表的文章。虽然他在马斯卡的工作主要是想让自己成为萨格勒布以外的作家(首先，他在马斯卡发表了一篇对戏剧《安菲萨》的评论，然后他自己的戏剧《isto尼·格雷》被评论)，波尔扬斯基利用他在马斯卡的工作与卢布尔雅那的评论家争论，后来在他的杂志《Svetokret》上继续他对卢布尔雅那艺术环境的批评回应，以及在泽尼特。此外，波尔扬斯基在卢布尔雅那出版独立期刊的主要动机之一是继续他在马斯卡发起的论战。因此，本文提出的假设是，对于斯洛文尼亚先锋派和南斯拉夫天顶主义代表之间合作开始的完整谱系，有必要考虑到马斯卡，尽管它不被认为是革命性或先锋派期刊。然而，它成为国际的愿望和对不同语言和辩论的开放态度促进了对当时艺术和批评的意见交流，这是发展南斯拉夫先锋派各代表及其独立行动之间关系的富有成效的基础。
{"title":"The significance of the Ljubljana Maska Journal (1920/21) in the context of the Yugoslav avant-garde","authors":"Kristina Pranjić","doi":"10.5937/zbaku2109111p","DOIUrl":"https://doi.org/10.5937/zbaku2109111p","url":null,"abstract":"The article is dedicated to the publications of Ljubomir Micić and Branko Ve Poljanski in Maska, the Ljubljana performing arts journal from 1920. While with his engagement in Maska Micić primarily wanted to present himself as a writer outside Zagreb (first, he published in Maska a review of the play Anfisa, and then his own play Istočni Greh was reviewed), Poljanski used his engagement in Maska for a polemic with Ljubljana critics, to later continue his critical response to Ljubljana's artistic milieu in his journal Svetokret, as well as in Zenit. Moreover, one of Poljanski's main motives for publishing an independent journal in Ljubljana was the continuation of the polemic he had started in Maska. Therefore, this article presents the assumption that for a complete genealogy of the beginnings of cooperation between Slovenian avantgarde and representatives of Yugoslav zenithism, it is necessary to take into account Maska, although it was not considered a revolutionary or avant-garde journal. Yet, its aspiration to become international and its openness to different languages and polemics contributed to the exchange of opinions about art and criticism of the time, which was a fruitful ground for the development of relations between various representatives of the Yugoslav avant-garde and their independent actions.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"42 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83826507","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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