Moderate Modernism and Socially Acceptable Paraphrase: Two Late Works by Serbian Composer Stanojlo Rajičić
Само за регистроване кориснике
2022
Поглавље у монографији (Објављена верзија)
,
The Author(s), under exclusive license to Springer Nature Switzerland AG 2022
Метаподаци
Приказ свих података о документуАпстракт
The complex question of context in music (and vice versa) entails multiple answers which vary from case to case. One must consider various factors such as characteristics of the period, genre, politics, sociological questions, compositional techniques, etc. In other words, to understand the relation between a piece of music and the context in which it was created means to understand a complex web created by all the aforementioned factors. These aspects are particularly important when attempting to place a certain local composer into a broader, European context, or when considering ‘national’ and ‘international’ characteristics of a certain piece, style, etc. This article deals with works of a Belgrade-born Yugoslav/Serbian composer Stanojlo Rajičić (1910–2000) composed in the second half of the twentieth century, such as song cycle for voice and orchestra Magnovenja,(Quick Moments), 1964, or Variations for Orchestra, 1979. In these works, there is a significant amount of paraphrased (M...eyer, Music, the Arts and Ideas: Patterns and Predictions in 20th-Century Culture, The University of Chicago Press, Chicago and London, 1967: 195– 207) music material (to be precise, of symphonic works by Gustav Mahler [1860– 1911]). Considering the author’s avant-garde tendencies in the interwar period, as well as his post-World War II stylistic change in the context of the newly established Socialist, classless society and Rajičić’s high positioning in the most significant public institutions, several questions come to mind: Why are there references to other composers’ music in Rajičić's works and how are they integrated into his individual style? Furthermore, is there a connection between these works and society in general? How do they fit in the society and the context that he was working in?
Кључне речи:
music and society / Serbian classical music / Stanojlo Rajičić / Socialist realism / moderate modernismИзвор:
Music as Cultural Heritage and Novelty, 2022, 261-288Издавач:
- Cham : Springer
Финансирање / пројекти:
DOI: 10.1007/978-3-031-11146-4_13
ISBN: 978-3-031-11145-7
ISSN: 2510-442X; 2510-4438
Scopus: 2-s2.0-85138685482
URI
https://link.springer.com/chapter/10.1007/978-3-031-11146-4_13https://dais.sanu.ac.rs/123456789/13358
Институција/група
Музиколошки институт САНУ / Institute of Musicology SASATY - CHAP AU - Bralović, Miloš PY - 2022 UR - https://link.springer.com/chapter/10.1007/978-3-031-11146-4_13 UR - https://dais.sanu.ac.rs/123456789/13358 AB - The complex question of context in music (and vice versa) entails multiple answers which vary from case to case. One must consider various factors such as characteristics of the period, genre, politics, sociological questions, compositional techniques, etc. In other words, to understand the relation between a piece of music and the context in which it was created means to understand a complex web created by all the aforementioned factors. These aspects are particularly important when attempting to place a certain local composer into a broader, European context, or when considering ‘national’ and ‘international’ characteristics of a certain piece, style, etc. This article deals with works of a Belgrade-born Yugoslav/Serbian composer Stanojlo Rajičić (1910–2000) composed in the second half of the twentieth century, such as song cycle for voice and orchestra Magnovenja,(Quick Moments), 1964, or Variations for Orchestra, 1979. In these works, there is a significant amount of paraphrased (Meyer, Music, the Arts and Ideas: Patterns and Predictions in 20th-Century Culture, The University of Chicago Press, Chicago and London, 1967: 195– 207) music material (to be precise, of symphonic works by Gustav Mahler [1860– 1911]). Considering the author’s avant-garde tendencies in the interwar period, as well as his post-World War II stylistic change in the context of the newly established Socialist, classless society and Rajičić’s high positioning in the most significant public institutions, several questions come to mind: Why are there references to other composers’ music in Rajičić's works and how are they integrated into his individual style? Furthermore, is there a connection between these works and society in general? How do they fit in the society and the context that he was working in? PB - Cham : Springer T2 - Music as Cultural Heritage and Novelty T1 - Moderate Modernism and Socially Acceptable Paraphrase: Two Late Works by Serbian Composer Stanojlo Rajičić SP - 261 EP - 288 DO - 10.1007/978-3-031-11146-4_13 UR - https://hdl.handle.net/21.15107/rcub_dais_13358 ER -
@inbook{ author = "Bralović, Miloš", year = "2022", abstract = "The complex question of context in music (and vice versa) entails multiple answers which vary from case to case. One must consider various factors such as characteristics of the period, genre, politics, sociological questions, compositional techniques, etc. In other words, to understand the relation between a piece of music and the context in which it was created means to understand a complex web created by all the aforementioned factors. These aspects are particularly important when attempting to place a certain local composer into a broader, European context, or when considering ‘national’ and ‘international’ characteristics of a certain piece, style, etc. This article deals with works of a Belgrade-born Yugoslav/Serbian composer Stanojlo Rajičić (1910–2000) composed in the second half of the twentieth century, such as song cycle for voice and orchestra Magnovenja,(Quick Moments), 1964, or Variations for Orchestra, 1979. In these works, there is a significant amount of paraphrased (Meyer, Music, the Arts and Ideas: Patterns and Predictions in 20th-Century Culture, The University of Chicago Press, Chicago and London, 1967: 195– 207) music material (to be precise, of symphonic works by Gustav Mahler [1860– 1911]). Considering the author’s avant-garde tendencies in the interwar period, as well as his post-World War II stylistic change in the context of the newly established Socialist, classless society and Rajičić’s high positioning in the most significant public institutions, several questions come to mind: Why are there references to other composers’ music in Rajičić's works and how are they integrated into his individual style? Furthermore, is there a connection between these works and society in general? How do they fit in the society and the context that he was working in?", publisher = "Cham : Springer", journal = "Music as Cultural Heritage and Novelty", booktitle = "Moderate Modernism and Socially Acceptable Paraphrase: Two Late Works by Serbian Composer Stanojlo Rajičić", pages = "261-288", doi = "10.1007/978-3-031-11146-4_13", url = "https://hdl.handle.net/21.15107/rcub_dais_13358" }
Bralović, M.. (2022). Moderate Modernism and Socially Acceptable Paraphrase: Two Late Works by Serbian Composer Stanojlo Rajičić. in Music as Cultural Heritage and Novelty Cham : Springer., 261-288. https://doi.org/10.1007/978-3-031-11146-4_13 https://hdl.handle.net/21.15107/rcub_dais_13358
Bralović M. Moderate Modernism and Socially Acceptable Paraphrase: Two Late Works by Serbian Composer Stanojlo Rajičić. in Music as Cultural Heritage and Novelty. 2022;:261-288. doi:10.1007/978-3-031-11146-4_13 https://hdl.handle.net/21.15107/rcub_dais_13358 .
Bralović, Miloš, "Moderate Modernism and Socially Acceptable Paraphrase: Two Late Works by Serbian Composer Stanojlo Rajičić" in Music as Cultural Heritage and Novelty (2022):261-288, https://doi.org/10.1007/978-3-031-11146-4_13 ., https://hdl.handle.net/21.15107/rcub_dais_13358 .