Nauka kao umetnost – interdisciplinarnost u naučnim radovima Dragutina Gostuškog
Authors
Radovanović, BojanaContributors
Popović Mlađenović, TijanaMasnikosa, Marija
Mikić, Vesna
Stojanović-Novičić, Dragana
Book (Published version)
Metadata
Show full item recordAbstract
This study, Science as Art – Interdisciplinarity in Scientific Works of Dragutin Gostuški, is
based on my master thesis, written under the mentorship of Dr. Vesna Mikić and
defended at the Department of Musicology, Faculty of Music in Belgrade.
Acknowledging the impact Dragutin Gostuški has had in Serbian musicology
and music critique, especially given the fact that his scientific and theoretical works
were particularly topical in European musicological thought of that time, this study
represents my contribution to studying one pertinent historical period in history of
Serbian musicology by examining Gostuški’s activity through the prism of
musicological interdisciplinarity.
The subject in question is scientific work of Dragutin Gostuški written during
the 1960s and 1970s. What these papers and studies, as well as Gostuški’s scientific
and essayistic language in general, have in common is a very specific
interdisciplinary approach, which is examined here through Mirjana Ves...elinovićHofman’s
theoretical model of musicological interdisciplinarity.
Studies taken in consideration include his doctoral dissertation Time of Art.
Contribution to the Establishment of a General Science of Forms (defended in 1965,
published in 1968), his text The Third Dimension of Poetic Language published in The
Musical Quarterly in 1969, and study Reality, Music, Language. Contribution to Studying
the Problem of Meaning [Réalite, Musique, Langage. Contribution a l’Étude du
Probleme de la Signification] presented at the First International Conference of
Semiotics of Music in Belgrade in 1973. His text Music Sciences as a Model of
Interdisciplinary Research Method served as a window to the interdisciplinary
worldview of Gostuški and is therefore introduced in the theoretical basis of my text.
Encompassing Introduction, the following two chapters of this study,
Interdisciplinarity – The Space ’in between’ and The Setting and the Development of
Musicology in Serbia, can be viewed as the theoretical basis for my research. The
second chapter is dedicated to the notion of interdisciplinarity in general as well as
708
attempted definition of musicological interdisciplinarity, while the third one traces
the historical path of musicology in Serbia during the 20th century. In the fourth
chapter, I deal with Gostuški’s works and ’polyphonic’ cooperation of musicology,
aesthetics, art history, mathematics, physics, psychology, semiotics, and other
disciplines in his texts. The concluding chapter, titled The Time of Art and Science,
gives an outline of the previous text and points out to new directions for future
studies on this subject.
The poly-scientific organization of Gostuški’s scholarly works, as I have
identified it, implies that the thesis, argumentation, and conclusions are
’counterpointally’ guided from all the disciplines utilized. Two or more disciplines
are steered in the direction of landing-place in musicological result and contribution.
Gostuški’s interdisciplinarity derives from Western, mostly French, musicological
thought, and, as such, stands as unique in Serbian musicology at the time.
From the musicological perspective, specificity of his works lays in the fact
that, in his examinations, Gostuški always held the most prominent role for music.
Furthermore, relations between music and other arts, covered by the wide range of
comparative aesthetics’ methodology, were always interpreted through intriguing
and topical European theories of art.
Keywords:
Dragutin Gostuški / interdisciplinarnost / muzikologija / srpska muzikologijaSource:
Wunderkammer / Their Masters' Voice, zbornik master radova studenata muzikologije, 2018, 630-710Publisher:
- Belgrade : Department of Musicology, Faculty of Music
Note:
- Knjiga nastala na osnovu master rada rađenog školske 2014/2015 godine pod mentorstvom dr Vesne Mikić na Fakultetu muzičke umetnosti u Beogradu.
URI
http://www.fmu.bg.ac.rs/dokumentacija/elektronske_publikacije/7.%20Bojana%20Radovanovic,%20Their%20Masters'%20Voice,%20master_final.pdfhttp://www.fmu.bg.ac.rs/dokumentacija/elektronske_publikacije/Wunderkammer_Their%20Masters'%20Voice,%20zbornik%20master%20radova,%20FMU%202018.pdf
https://dais.sanu.ac.rs/123456789/4098
Institution/Community
Музиколошки институт САНУ / Institute of Musicology SASATY - BOOK AU - Radovanović, Bojana PY - 2018 UR - http://www.fmu.bg.ac.rs/dokumentacija/elektronske_publikacije/7.%20Bojana%20Radovanovic,%20Their%20Masters'%20Voice,%20master_final.pdf UR - http://www.fmu.bg.ac.rs/dokumentacija/elektronske_publikacije/Wunderkammer_Their%20Masters'%20Voice,%20zbornik%20master%20radova,%20FMU%202018.pdf UR - https://dais.sanu.ac.rs/123456789/4098 AB - This study, Science as Art – Interdisciplinarity in Scientific Works of Dragutin Gostuški, is based on my master thesis, written under the mentorship of Dr. Vesna Mikić and defended at the Department of Musicology, Faculty of Music in Belgrade. Acknowledging the impact Dragutin Gostuški has had in Serbian musicology and music critique, especially given the fact that his scientific and theoretical works were particularly topical in European musicological thought of that time, this study represents my contribution to studying one pertinent historical period in history of Serbian musicology by examining Gostuški’s activity through the prism of musicological interdisciplinarity. The subject in question is scientific work of Dragutin Gostuški written during the 1960s and 1970s. What these papers and studies, as well as Gostuški’s scientific and essayistic language in general, have in common is a very specific interdisciplinary approach, which is examined here through Mirjana VeselinovićHofman’s theoretical model of musicological interdisciplinarity. Studies taken in consideration include his doctoral dissertation Time of Art. Contribution to the Establishment of a General Science of Forms (defended in 1965, published in 1968), his text The Third Dimension of Poetic Language published in The Musical Quarterly in 1969, and study Reality, Music, Language. Contribution to Studying the Problem of Meaning [Réalite, Musique, Langage. Contribution a l’Étude du Probleme de la Signification] presented at the First International Conference of Semiotics of Music in Belgrade in 1973. His text Music Sciences as a Model of Interdisciplinary Research Method served as a window to the interdisciplinary worldview of Gostuški and is therefore introduced in the theoretical basis of my text. Encompassing Introduction, the following two chapters of this study, Interdisciplinarity – The Space ’in between’ and The Setting and the Development of Musicology in Serbia, can be viewed as the theoretical basis for my research. The second chapter is dedicated to the notion of interdisciplinarity in general as well as 708 attempted definition of musicological interdisciplinarity, while the third one traces the historical path of musicology in Serbia during the 20th century. In the fourth chapter, I deal with Gostuški’s works and ’polyphonic’ cooperation of musicology, aesthetics, art history, mathematics, physics, psychology, semiotics, and other disciplines in his texts. The concluding chapter, titled The Time of Art and Science, gives an outline of the previous text and points out to new directions for future studies on this subject. The poly-scientific organization of Gostuški’s scholarly works, as I have identified it, implies that the thesis, argumentation, and conclusions are ’counterpointally’ guided from all the disciplines utilized. Two or more disciplines are steered in the direction of landing-place in musicological result and contribution. Gostuški’s interdisciplinarity derives from Western, mostly French, musicological thought, and, as such, stands as unique in Serbian musicology at the time. From the musicological perspective, specificity of his works lays in the fact that, in his examinations, Gostuški always held the most prominent role for music. Furthermore, relations between music and other arts, covered by the wide range of comparative aesthetics’ methodology, were always interpreted through intriguing and topical European theories of art. PB - Belgrade : Department of Musicology, Faculty of Music T2 - Wunderkammer / Their Masters' Voice, zbornik master radova studenata muzikologije T1 - Nauka kao umetnost – interdisciplinarnost u naučnim radovima Dragutina Gostuškog SP - 630 EP - 710 UR - https://hdl.handle.net/21.15107/rcub_dais_4098 ER -
@book{ author = "Radovanović, Bojana", year = "2018", abstract = "This study, Science as Art – Interdisciplinarity in Scientific Works of Dragutin Gostuški, is based on my master thesis, written under the mentorship of Dr. Vesna Mikić and defended at the Department of Musicology, Faculty of Music in Belgrade. Acknowledging the impact Dragutin Gostuški has had in Serbian musicology and music critique, especially given the fact that his scientific and theoretical works were particularly topical in European musicological thought of that time, this study represents my contribution to studying one pertinent historical period in history of Serbian musicology by examining Gostuški’s activity through the prism of musicological interdisciplinarity. The subject in question is scientific work of Dragutin Gostuški written during the 1960s and 1970s. What these papers and studies, as well as Gostuški’s scientific and essayistic language in general, have in common is a very specific interdisciplinary approach, which is examined here through Mirjana VeselinovićHofman’s theoretical model of musicological interdisciplinarity. Studies taken in consideration include his doctoral dissertation Time of Art. Contribution to the Establishment of a General Science of Forms (defended in 1965, published in 1968), his text The Third Dimension of Poetic Language published in The Musical Quarterly in 1969, and study Reality, Music, Language. Contribution to Studying the Problem of Meaning [Réalite, Musique, Langage. Contribution a l’Étude du Probleme de la Signification] presented at the First International Conference of Semiotics of Music in Belgrade in 1973. His text Music Sciences as a Model of Interdisciplinary Research Method served as a window to the interdisciplinary worldview of Gostuški and is therefore introduced in the theoretical basis of my text. Encompassing Introduction, the following two chapters of this study, Interdisciplinarity – The Space ’in between’ and The Setting and the Development of Musicology in Serbia, can be viewed as the theoretical basis for my research. The second chapter is dedicated to the notion of interdisciplinarity in general as well as 708 attempted definition of musicological interdisciplinarity, while the third one traces the historical path of musicology in Serbia during the 20th century. In the fourth chapter, I deal with Gostuški’s works and ’polyphonic’ cooperation of musicology, aesthetics, art history, mathematics, physics, psychology, semiotics, and other disciplines in his texts. The concluding chapter, titled The Time of Art and Science, gives an outline of the previous text and points out to new directions for future studies on this subject. The poly-scientific organization of Gostuški’s scholarly works, as I have identified it, implies that the thesis, argumentation, and conclusions are ’counterpointally’ guided from all the disciplines utilized. Two or more disciplines are steered in the direction of landing-place in musicological result and contribution. Gostuški’s interdisciplinarity derives from Western, mostly French, musicological thought, and, as such, stands as unique in Serbian musicology at the time. From the musicological perspective, specificity of his works lays in the fact that, in his examinations, Gostuški always held the most prominent role for music. Furthermore, relations between music and other arts, covered by the wide range of comparative aesthetics’ methodology, were always interpreted through intriguing and topical European theories of art.", publisher = "Belgrade : Department of Musicology, Faculty of Music", journal = "Wunderkammer / Their Masters' Voice, zbornik master radova studenata muzikologije", title = "Nauka kao umetnost – interdisciplinarnost u naučnim radovima Dragutina Gostuškog", pages = "630-710", url = "https://hdl.handle.net/21.15107/rcub_dais_4098" }
Radovanović, B.. (2018). Nauka kao umetnost – interdisciplinarnost u naučnim radovima Dragutina Gostuškog. in Wunderkammer / Their Masters' Voice, zbornik master radova studenata muzikologije Belgrade : Department of Musicology, Faculty of Music., 630-710. https://hdl.handle.net/21.15107/rcub_dais_4098
Radovanović B. Nauka kao umetnost – interdisciplinarnost u naučnim radovima Dragutina Gostuškog. in Wunderkammer / Their Masters' Voice, zbornik master radova studenata muzikologije. 2018;:630-710. https://hdl.handle.net/21.15107/rcub_dais_4098 .
Radovanović, Bojana, "Nauka kao umetnost – interdisciplinarnost u naučnim radovima Dragutina Gostuškog" in Wunderkammer / Their Masters' Voice, zbornik master radova studenata muzikologije (2018):630-710, https://hdl.handle.net/21.15107/rcub_dais_4098 .