Однос музичара према концертним активностима у првој години пандемије: београдски контекст
Musicians' Attitudes Towards Concert Activities in the First Year of the Pandemic: Belgrade Context
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This paper is based on the intersection of studies of performing arts, music and digital media in the field of musicology, which I connected with empirical research of professional musicians' attitudes towards Belgrade concert life in art music in the first year of the coronavirus pandemic (COVID-19). The research was conducted on the basis of a survey in which fifteen concert musicians participated. Given the appropriate theoretical perspective, the considerations are contextualized with respect to global changes of concert life.
Овај рад се темељи на укрштању студија извођачких уметности, музике и
дигиталних медија у области музикологије, а проистиче из емпиријског
истраживања односа професионалних музичара према концертном животу
Београда у сфери уметничке музике у првој години пандемије изазване
коронавирусом (COVID-19). Истраживање је спроведено на основу анкете
у којој је учествовало петнаест концертних музичара. Имајући у виду
одговарајућу теоријску перспективу, разматрања су контекстуализована с
обзиром на глобалне оквире промена.
This article is situated at the intersection of the studies of performing arts, music and
digital media in the field of musicology, which I connected with empirical research
of professional musicians’ attitudes towards Belgrade concert life in art music in the
first year of the coronavirus pandemic (COVID-19). In my research, I had in mind
a number of global changes in the sphere of concert practices, which produced specific
versions of the new concert reality in each local environment. In that context,
I focused on the opinions of musicians, actively present in the public concert life of
Belgrade. Using a method of qualitative research through an open-ended survey, I
examined and problematized musicians' attitudes towards the recent changes, based
on their answers to the following three questions: (1) How did the pandemic affect
experiences of performers and audience related to the concert as a live event? (2) What is your position on the differences between online and offli...ne concerts?
(3) Will the new changes in concert life more permanently mark the composing,
performing, listening and understanding of music in the time after the coronavirus
pandemic?
Significant topics have been identified through the analysis, systematization and
contectualization of answers and comments, showing that the diversity of attitudes
of musicians is smaller in relation to the mutual similarity, compatibility and complementarity
of their thinking. The dominant common attitude of the musicians
refers to the concerts. On the one hand, musicians have essentially the same attitude
towards the concert as a live event, which makes it the most important and
indispensable institution of their performing practice as well as materialization of
their communication with the audience. On the other hand, they accept online performances,
but such types of music making are secondary and deficient for them in
relation to the concert in front of the audience.
These opinions are also considered in a theoretical context of music and digital
media studies, with a conclusion that coercive pandemic circumstances have reactivated
some stereotypical views about online concerts as a surrogate of face-to-face
corporeal live musical experience. Such a situation is also affected by new ways of
creating, promoting and programming online events during pandemic, the majority
of which indeed serve as replacements of traditional live performances or as their
duplication. It is therefore useful to direct those online musical meetings to not copy
the concert, but instead strive to create their own models of presentations that are
immanent to digital technology and internet opportunities. It seems that theoretical
perspectives have to be stronger connected with empirical research, and this is
especially true during intensive transformations and fractures such as the pandemic
time in which we live. The musicians who speak directly from practice are especially
relevant interlocutors in that context.
Кључне речи:
coronavirus pandemic (COVID-19) / musicians / concert / online concert / concert life / пандемија коронавируса (COVID-19) / музичари / концерт / онлајн концерт / концертни животИзвор:
Музикологија, 2021, 31, 231-256Издавач:
- Београд : Музиколошки институт Српске академије наука и уметности
Финансирање / пројекти:
DOI: 10.2298/MUZ2131231M
Cobiss ID: 54705417
ISSN: 1450-9841 (print); 2406-0976 (online)
WoS: 000751898100011
[ Google Scholar ]Колекције
Институција/група
Музиколошки институт САНУ / Institute of Musicology SASATY - JOUR AU - Милановић, Биљана PY - 2021 UR - https://dais.sanu.ac.rs/123456789/12528 AB - This paper is based on the intersection of studies of performing arts, music and digital media in the field of musicology, which I connected with empirical research of professional musicians' attitudes towards Belgrade concert life in art music in the first year of the coronavirus pandemic (COVID-19). The research was conducted on the basis of a survey in which fifteen concert musicians participated. Given the appropriate theoretical perspective, the considerations are contextualized with respect to global changes of concert life. AB - Овај рад се темељи на укрштању студија извођачких уметности, музике и дигиталних медија у области музикологије, а проистиче из емпиријског истраживања односа професионалних музичара према концертном животу Београда у сфери уметничке музике у првој години пандемије изазване коронавирусом (COVID-19). Истраживање је спроведено на основу анкете у којој је учествовало петнаест концертних музичара. Имајући у виду одговарајућу теоријску перспективу, разматрања су контекстуализована с обзиром на глобалне оквире промена. AB - This article is situated at the intersection of the studies of performing arts, music and digital media in the field of musicology, which I connected with empirical research of professional musicians’ attitudes towards Belgrade concert life in art music in the first year of the coronavirus pandemic (COVID-19). In my research, I had in mind a number of global changes in the sphere of concert practices, which produced specific versions of the new concert reality in each local environment. In that context, I focused on the opinions of musicians, actively present in the public concert life of Belgrade. Using a method of qualitative research through an open-ended survey, I examined and problematized musicians' attitudes towards the recent changes, based on their answers to the following three questions: (1) How did the pandemic affect experiences of performers and audience related to the concert as a live event? (2) What is your position on the differences between online and offline concerts? (3) Will the new changes in concert life more permanently mark the composing, performing, listening and understanding of music in the time after the coronavirus pandemic? Significant topics have been identified through the analysis, systematization and contectualization of answers and comments, showing that the diversity of attitudes of musicians is smaller in relation to the mutual similarity, compatibility and complementarity of their thinking. The dominant common attitude of the musicians refers to the concerts. On the one hand, musicians have essentially the same attitude towards the concert as a live event, which makes it the most important and indispensable institution of their performing practice as well as materialization of their communication with the audience. On the other hand, they accept online performances, but such types of music making are secondary and deficient for them in relation to the concert in front of the audience. These opinions are also considered in a theoretical context of music and digital media studies, with a conclusion that coercive pandemic circumstances have reactivated some stereotypical views about online concerts as a surrogate of face-to-face corporeal live musical experience. Such a situation is also affected by new ways of creating, promoting and programming online events during pandemic, the majority of which indeed serve as replacements of traditional live performances or as their duplication. It is therefore useful to direct those online musical meetings to not copy the concert, but instead strive to create their own models of presentations that are immanent to digital technology and internet opportunities. It seems that theoretical perspectives have to be stronger connected with empirical research, and this is especially true during intensive transformations and fractures such as the pandemic time in which we live. The musicians who speak directly from practice are especially relevant interlocutors in that context. PB - Београд : Музиколошки институт Српске академије наука и уметности T2 - Музикологија T1 - Однос музичара према концертним активностима у првој години пандемије: београдски контекст T1 - Musicians' Attitudes Towards Concert Activities in the First Year of the Pandemic: Belgrade Context SP - 231 EP - 256 IS - 31 DO - 10.2298/MUZ2131231M UR - https://hdl.handle.net/21.15107/rcub_dais_12528 ER -
@article{ author = "Милановић, Биљана", year = "2021", abstract = "This paper is based on the intersection of studies of performing arts, music and digital media in the field of musicology, which I connected with empirical research of professional musicians' attitudes towards Belgrade concert life in art music in the first year of the coronavirus pandemic (COVID-19). The research was conducted on the basis of a survey in which fifteen concert musicians participated. Given the appropriate theoretical perspective, the considerations are contextualized with respect to global changes of concert life., Овај рад се темељи на укрштању студија извођачких уметности, музике и дигиталних медија у области музикологије, а проистиче из емпиријског истраживања односа професионалних музичара према концертном животу Београда у сфери уметничке музике у првој години пандемије изазване коронавирусом (COVID-19). Истраживање је спроведено на основу анкете у којој је учествовало петнаест концертних музичара. Имајући у виду одговарајућу теоријску перспективу, разматрања су контекстуализована с обзиром на глобалне оквире промена., This article is situated at the intersection of the studies of performing arts, music and digital media in the field of musicology, which I connected with empirical research of professional musicians’ attitudes towards Belgrade concert life in art music in the first year of the coronavirus pandemic (COVID-19). In my research, I had in mind a number of global changes in the sphere of concert practices, which produced specific versions of the new concert reality in each local environment. In that context, I focused on the opinions of musicians, actively present in the public concert life of Belgrade. Using a method of qualitative research through an open-ended survey, I examined and problematized musicians' attitudes towards the recent changes, based on their answers to the following three questions: (1) How did the pandemic affect experiences of performers and audience related to the concert as a live event? (2) What is your position on the differences between online and offline concerts? (3) Will the new changes in concert life more permanently mark the composing, performing, listening and understanding of music in the time after the coronavirus pandemic? Significant topics have been identified through the analysis, systematization and contectualization of answers and comments, showing that the diversity of attitudes of musicians is smaller in relation to the mutual similarity, compatibility and complementarity of their thinking. The dominant common attitude of the musicians refers to the concerts. On the one hand, musicians have essentially the same attitude towards the concert as a live event, which makes it the most important and indispensable institution of their performing practice as well as materialization of their communication with the audience. On the other hand, they accept online performances, but such types of music making are secondary and deficient for them in relation to the concert in front of the audience. These opinions are also considered in a theoretical context of music and digital media studies, with a conclusion that coercive pandemic circumstances have reactivated some stereotypical views about online concerts as a surrogate of face-to-face corporeal live musical experience. Such a situation is also affected by new ways of creating, promoting and programming online events during pandemic, the majority of which indeed serve as replacements of traditional live performances or as their duplication. It is therefore useful to direct those online musical meetings to not copy the concert, but instead strive to create their own models of presentations that are immanent to digital technology and internet opportunities. It seems that theoretical perspectives have to be stronger connected with empirical research, and this is especially true during intensive transformations and fractures such as the pandemic time in which we live. The musicians who speak directly from practice are especially relevant interlocutors in that context.", publisher = "Београд : Музиколошки институт Српске академије наука и уметности", journal = "Музикологија", title = "Однос музичара према концертним активностима у првој години пандемије: београдски контекст, Musicians' Attitudes Towards Concert Activities in the First Year of the Pandemic: Belgrade Context", pages = "231-256", number = "31", doi = "10.2298/MUZ2131231M", url = "https://hdl.handle.net/21.15107/rcub_dais_12528" }
Милановић, Б.. (2021). Однос музичара према концертним активностима у првој години пандемије: београдски контекст. in Музикологија Београд : Музиколошки институт Српске академије наука и уметности.(31), 231-256. https://doi.org/10.2298/MUZ2131231M https://hdl.handle.net/21.15107/rcub_dais_12528
Милановић Б. Однос музичара према концертним активностима у првој години пандемије: београдски контекст. in Музикологија. 2021;(31):231-256. doi:10.2298/MUZ2131231M https://hdl.handle.net/21.15107/rcub_dais_12528 .
Милановић, Биљана, "Однос музичара према концертним активностима у првој години пандемије: београдски контекст" in Музикологија, no. 31 (2021):231-256, https://doi.org/10.2298/MUZ2131231M ., https://hdl.handle.net/21.15107/rcub_dais_12528 .