Институционализација музикологије у Србији у светлу нове културне политике Југославије

Abstract

У Југославији након Другог светског рата јавља се идеја о стварању „нове уметности“ за „новог човека“, која ће бити прожета „новим, здравим мислима“. Из такве културне политике произлази потреба за институцијама које ће научно и теоријски подржати нове уметничке тенденције, а, такође, и отпочети рад на изучавању српске и југословенске уметничке прошлости. Оснивањем Одељења за историју музике и музички фолклор на Музичкој академији у Београду и Музиколошког института Српске академије наука 1948. године створени су услови за школовање стручњака и научно проучавање уметничких достигнућа домаћих аутора. Циљ овог рада је сагледавање културнополитичких околности у којима је институционализована музикологија у Србији.

The beginnings of musicological activities in Serbia are traces back to the first years of 20th century. Important music history books were translated, strong tendencies towards writing a historical overview of Serbian music expressed, and the written word of music critics was highly developed, appreciated and abundant. The most prominent music writers throughout the first half of the century were mostly composers, which were, in a way, obligated to educate their audience. Nevertheless, the development of musicology could not commence without the institutions needed for autonomy of the discipline. After the World War II, a new idea was born and rising in Yugoslavia. Namely, that was the idea of creating a “new art” for a “new man”, which is to be impregnated with “new, healthy thoughts”, but without rejecting those values that were appreciated and current before the war. Cultural politics set up in this way signified the need for institutions which will support new artistic tendencies, as well as begin working on the important questions of Serbian and Yugoslav history of arts. By establishing the Institute of Musicology of the Serbian Academy of Sciences and Arts and the Department for Music History and Musical Folklore of the Music Academy in Belgrade, conditions have been created for education of future experts in the field of musicology and scientific studying of artistic achievements of Serbian and Yugoslav composers. That means that the new chapter in Serbian history and science has begun. Like the artists and musicians themselves, the musicologists also stood in the field between tradition, modern ways of European music sciences, and the state’s requirements. This paper aims at overviewing the continuity of the development of musicology in Serbia in 20th century, with a special focus on the institutionalization and uprising in the first decades of the second half of the century.