Васиљевићеви зборници народних мелодија: српско музичко благо
Vasiljević's Collections of Folk Melodies: A Serbian Musical Treasure
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После осврта на кључне доприносе Миодрага А. Васиљевића (1903–1963)
развоју српске етномузикологије, ауторка посвећује пажњу свакој од његових
дванаест зборничких публикација, од којих су неке (превасходно постхумна
издања) у саопштењима претходника биле веома мало заступљене или чак
сасвим запостављене. Васиљевићеви наслови разматрају се критички, у хронолошком поретку њиховог објављивања од 1950. до 2009. године. На крају
излагања, корпус публикованог материјала сумарно је позициониран у односу на мелографски допринос Васиљевићевих претходника и на онај из потоњег раздобља.
Miodrag A. Vasiljević (1903-1963) was given a unique opportunity to span
two great developmental stages in the history of Serbian ethnomusicology, occurring in the middle of the 20th century. The frst of them was between the two World
Wars, the stage in which Serbian musical folklore became Vasiljević’s life passion
and in which he accomplished his early professional achievements. In the next
stage, which started after World War II, he reached the zenith of his creation in
slightly less than twenty years, setting new standards of the discipline, and providing fundamental directions for his successors, thereby immeasurably enlarging the
corpus of collected material. Due all of these revolutionary innovations from the
post-war period, Vasiljević is rightly considered to be not only the founder of modern Serbian ethnomusicology, but also the frst person in Serbia worthy of being
called an ethnomusicologist in the full sense of the word.
Of the numerous results by which Vasiljević... permanently indebted his people, the most pronounced does not belong to the category of pioneering endeavours, but is manifested in his melographic opus – an achievement which even today
has not been surpassed in Serbia in terms of its span, scope and value. Such great
productivity in recording resulted from the fact that Vasiljević had been devoted
to melography from his childhood, and most intensely from 1932 to the end of his
life.
The exact number of examples which Vasiljević transcribed directly in the
feld before 1951 and those which he recorded on a tape-recorder after that time
is still unknown, since many of them are still unavailable to the public, but it can
be assumed that there are several thousand melodies in total. Among them are
3,198 which have already been published. That precious corpus of Vasiljević’s
available material is contained in twelve collections (the largest number ever
regarding any collector in Serbia so far), issued from 1950 to 2009. The frst
four collections offer comprehensive material from Kosmet, Sandžak, Macedonia and the region of Leskovac, and they were edited by Vasiljević himself
during the last ten years of his life or so. Posthumous publications were devoted
to Montenegro, Vojvodina, Resava and various parts of central Serbia, as well as
to the repertoires of the famous singer Hamdija Šahinpašić (1914/16-2003) from
Sandžak, and gypsy female singer Malika Jeminović Koštana (1872?–1945)
from the vicinity of Vranje.
Until now there have still not been any comprehensive studies on Vasiljević’s
ethnomusicological activity, although there are valuable articles. In these, Vasiljević’s melographic contribution is usually emphasised much more than his scientifc
one, which is much more modest in its scope. Since the existing writings mostly
deal with collections published during his life, this paper results from the intention to give a complete picture of the material, so all Vasiljević’s collections were
critically considered according to the chronology of their publication. Each of the
publications emerged to witness to both Vasiljević as a feld worker and to some of
the important stages of his own ethnomusicological development. The last part of the text focuses on the fact that a decline in production of
ethnomusicological collection publications has been evident in Serbia over the last
few decades. Nowadays, this negative trend is conditioned by two key reasons.
One is the perfected and easily available technology of digital audio recording and
the copying of sound recordings. The second is reflected in the general developmental orientation of the discipline.
Keywords:
Миодраг А. Васиљевић / зборници народних мелодија / српски музички фолклор / етномузикологија у Србији / мелографијаSource:
Музикологија / Musicology, 2016, 20, 171-198Publisher:
- Београд : Музиколошки институт Српске академије наука и уметности
Funding / projects:
- Music and Dance Tradition of Multiethnic and Multicultural Serbia (RS-MESTD-Basic Research (BR or ON)-177024)
URI
http://www.doiserbia.nb.rs/img/doi/1450-9814/2016/1450-98141620171R.pdfhttps://dais.sanu.ac.rs/123456789/3819
Collections
Institution/Community
Музиколошки институт САНУ / Institute of Musicology SASATY - JOUR AU - Радиновић, Сања PY - 2016 UR - http://www.doiserbia.nb.rs/img/doi/1450-9814/2016/1450-98141620171R.pdf UR - https://dais.sanu.ac.rs/123456789/3819 AB - После осврта на кључне доприносе Миодрага А. Васиљевића (1903–1963) развоју српске етномузикологије, ауторка посвећује пажњу свакој од његових дванаест зборничких публикација, од којих су неке (превасходно постхумна издања) у саопштењима претходника биле веома мало заступљене или чак сасвим запостављене. Васиљевићеви наслови разматрају се критички, у хронолошком поретку њиховог објављивања од 1950. до 2009. године. На крају излагања, корпус публикованог материјала сумарно је позициониран у односу на мелографски допринос Васиљевићевих претходника и на онај из потоњег раздобља. AB - Miodrag A. Vasiljević (1903-1963) was given a unique opportunity to span two great developmental stages in the history of Serbian ethnomusicology, occurring in the middle of the 20th century. The frst of them was between the two World Wars, the stage in which Serbian musical folklore became Vasiljević’s life passion and in which he accomplished his early professional achievements. In the next stage, which started after World War II, he reached the zenith of his creation in slightly less than twenty years, setting new standards of the discipline, and providing fundamental directions for his successors, thereby immeasurably enlarging the corpus of collected material. Due all of these revolutionary innovations from the post-war period, Vasiljević is rightly considered to be not only the founder of modern Serbian ethnomusicology, but also the frst person in Serbia worthy of being called an ethnomusicologist in the full sense of the word. Of the numerous results by which Vasiljević permanently indebted his people, the most pronounced does not belong to the category of pioneering endeavours, but is manifested in his melographic opus – an achievement which even today has not been surpassed in Serbia in terms of its span, scope and value. Such great productivity in recording resulted from the fact that Vasiljević had been devoted to melography from his childhood, and most intensely from 1932 to the end of his life. The exact number of examples which Vasiljević transcribed directly in the feld before 1951 and those which he recorded on a tape-recorder after that time is still unknown, since many of them are still unavailable to the public, but it can be assumed that there are several thousand melodies in total. Among them are 3,198 which have already been published. That precious corpus of Vasiljević’s available material is contained in twelve collections (the largest number ever regarding any collector in Serbia so far), issued from 1950 to 2009. The frst four collections offer comprehensive material from Kosmet, Sandžak, Macedonia and the region of Leskovac, and they were edited by Vasiljević himself during the last ten years of his life or so. Posthumous publications were devoted to Montenegro, Vojvodina, Resava and various parts of central Serbia, as well as to the repertoires of the famous singer Hamdija Šahinpašić (1914/16-2003) from Sandžak, and gypsy female singer Malika Jeminović Koštana (1872?–1945) from the vicinity of Vranje. Until now there have still not been any comprehensive studies on Vasiljević’s ethnomusicological activity, although there are valuable articles. In these, Vasiljević’s melographic contribution is usually emphasised much more than his scientifc one, which is much more modest in its scope. Since the existing writings mostly deal with collections published during his life, this paper results from the intention to give a complete picture of the material, so all Vasiljević’s collections were critically considered according to the chronology of their publication. Each of the publications emerged to witness to both Vasiljević as a feld worker and to some of the important stages of his own ethnomusicological development. The last part of the text focuses on the fact that a decline in production of ethnomusicological collection publications has been evident in Serbia over the last few decades. Nowadays, this negative trend is conditioned by two key reasons. One is the perfected and easily available technology of digital audio recording and the copying of sound recordings. The second is reflected in the general developmental orientation of the discipline. PB - Београд : Музиколошки институт Српске академије наука и уметности T2 - Музикологија / Musicology T1 - Васиљевићеви зборници народних мелодија: српско музичко благо T1 - Vasiljević's Collections of Folk Melodies: A Serbian Musical Treasure SP - 171 EP - 198 IS - 20 DO - 10.2298/MUZ1620171R UR - https://hdl.handle.net/21.15107/rcub_dais_3819 ER -
@article{ author = "Радиновић, Сања", year = "2016", abstract = "После осврта на кључне доприносе Миодрага А. Васиљевића (1903–1963) развоју српске етномузикологије, ауторка посвећује пажњу свакој од његових дванаест зборничких публикација, од којих су неке (превасходно постхумна издања) у саопштењима претходника биле веома мало заступљене или чак сасвим запостављене. Васиљевићеви наслови разматрају се критички, у хронолошком поретку њиховог објављивања од 1950. до 2009. године. На крају излагања, корпус публикованог материјала сумарно је позициониран у односу на мелографски допринос Васиљевићевих претходника и на онај из потоњег раздобља., Miodrag A. Vasiljević (1903-1963) was given a unique opportunity to span two great developmental stages in the history of Serbian ethnomusicology, occurring in the middle of the 20th century. The frst of them was between the two World Wars, the stage in which Serbian musical folklore became Vasiljević’s life passion and in which he accomplished his early professional achievements. In the next stage, which started after World War II, he reached the zenith of his creation in slightly less than twenty years, setting new standards of the discipline, and providing fundamental directions for his successors, thereby immeasurably enlarging the corpus of collected material. Due all of these revolutionary innovations from the post-war period, Vasiljević is rightly considered to be not only the founder of modern Serbian ethnomusicology, but also the frst person in Serbia worthy of being called an ethnomusicologist in the full sense of the word. Of the numerous results by which Vasiljević permanently indebted his people, the most pronounced does not belong to the category of pioneering endeavours, but is manifested in his melographic opus – an achievement which even today has not been surpassed in Serbia in terms of its span, scope and value. Such great productivity in recording resulted from the fact that Vasiljević had been devoted to melography from his childhood, and most intensely from 1932 to the end of his life. The exact number of examples which Vasiljević transcribed directly in the feld before 1951 and those which he recorded on a tape-recorder after that time is still unknown, since many of them are still unavailable to the public, but it can be assumed that there are several thousand melodies in total. Among them are 3,198 which have already been published. That precious corpus of Vasiljević’s available material is contained in twelve collections (the largest number ever regarding any collector in Serbia so far), issued from 1950 to 2009. The frst four collections offer comprehensive material from Kosmet, Sandžak, Macedonia and the region of Leskovac, and they were edited by Vasiljević himself during the last ten years of his life or so. Posthumous publications were devoted to Montenegro, Vojvodina, Resava and various parts of central Serbia, as well as to the repertoires of the famous singer Hamdija Šahinpašić (1914/16-2003) from Sandžak, and gypsy female singer Malika Jeminović Koštana (1872?–1945) from the vicinity of Vranje. Until now there have still not been any comprehensive studies on Vasiljević’s ethnomusicological activity, although there are valuable articles. In these, Vasiljević’s melographic contribution is usually emphasised much more than his scientifc one, which is much more modest in its scope. Since the existing writings mostly deal with collections published during his life, this paper results from the intention to give a complete picture of the material, so all Vasiljević’s collections were critically considered according to the chronology of their publication. Each of the publications emerged to witness to both Vasiljević as a feld worker and to some of the important stages of his own ethnomusicological development. The last part of the text focuses on the fact that a decline in production of ethnomusicological collection publications has been evident in Serbia over the last few decades. Nowadays, this negative trend is conditioned by two key reasons. One is the perfected and easily available technology of digital audio recording and the copying of sound recordings. The second is reflected in the general developmental orientation of the discipline.", publisher = "Београд : Музиколошки институт Српске академије наука и уметности", journal = "Музикологија / Musicology", title = "Васиљевићеви зборници народних мелодија: српско музичко благо, Vasiljević's Collections of Folk Melodies: A Serbian Musical Treasure", pages = "171-198", number = "20", doi = "10.2298/MUZ1620171R", url = "https://hdl.handle.net/21.15107/rcub_dais_3819" }
Радиновић, С.. (2016). Васиљевићеви зборници народних мелодија: српско музичко благо. in Музикологија / Musicology Београд : Музиколошки институт Српске академије наука и уметности.(20), 171-198. https://doi.org/10.2298/MUZ1620171R https://hdl.handle.net/21.15107/rcub_dais_3819
Радиновић С. Васиљевићеви зборници народних мелодија: српско музичко благо. in Музикологија / Musicology. 2016;(20):171-198. doi:10.2298/MUZ1620171R https://hdl.handle.net/21.15107/rcub_dais_3819 .
Радиновић, Сања, "Васиљевићеви зборници народних мелодија: српско музичко благо" in Музикологија / Musicology, no. 20 (2016):171-198, https://doi.org/10.2298/MUZ1620171R ., https://hdl.handle.net/21.15107/rcub_dais_3819 .