Annulling the Trauma: Neoclassicism as a Modernist (?) Antidote to Society’s Ills
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In this paper, we shall examine the overall conditions of the emergence of neoclassicism in Paris, shortly after the First World War. Compared to that, the emergence of neoclassicism in Serbian music is also going to be examined having in mind that neoclassicism, as a dominant movement, appears in Serbian music significantly later – after the Second World War. At this point, the only correlation between the two neoclassicisms is that they both appear after the significant, primarily destructive historical events. What would their other similarities and differences be?
The First World War ended a hundred years ago. This historical event of colossal proportions
significantly changed both European and world history. And it is very probable
that in the following years (that is, the 1920s), this event influenced many ’calls to
order’, to paraphrase the title of Jean Cocteau’s infamous 1923 essay. Therefore, in this
paper, we first examined (in the most general terms) overall historical conditions
which influenced the emergence of neoclassicism in Paris, before and shortly after The
Great War. With this in mind, we also examined the overall conditions of the emergence
of neoclassicism in Serbian music, which (acknowledging several modest attempts
before The Second World War) appeared as a (sort of) dominant movement
significantly later, compared to its French counterpart, that is, in the 1950s. At this
point, the only correlation between the two neoclassicisms is that they both appear
after significant, primarily destructive, historical events.... Therefore, having in mind
that after two wars of vast proportions, contexts changed, we examined the ways by
which the composers (that is Igor Stravinsky and Milan Ristić, as case studies) tried to
find a stable way into mainstream art and, to some extent, redevelop their poietics.
Кључне речи:
Neoclassicism / Paris 1920s / Belgrade 1950s / moderated modernism / First World War / Second World WarИзвор:
New Sound International Journal of Music, 2019, 53, 53-69Издавач:
- Belgrade : Faculty of Music
Финансирање / пројекти:
URI
http://ojs.newsound.org.rs/index.php/NS/article/view/No.53_53-69/6https://dais.sanu.ac.rs/123456789/6278
Институција/група
Музиколошки институт САНУ / Institute of Musicology SASATY - JOUR AU - Bralović, Miloš PY - 2019 UR - http://ojs.newsound.org.rs/index.php/NS/article/view/No.53_53-69/6 UR - https://dais.sanu.ac.rs/123456789/6278 AB - In this paper, we shall examine the overall conditions of the emergence of neoclassicism in Paris, shortly after the First World War. Compared to that, the emergence of neoclassicism in Serbian music is also going to be examined having in mind that neoclassicism, as a dominant movement, appears in Serbian music significantly later – after the Second World War. At this point, the only correlation between the two neoclassicisms is that they both appear after the significant, primarily destructive historical events. What would their other similarities and differences be? AB - The First World War ended a hundred years ago. This historical event of colossal proportions significantly changed both European and world history. And it is very probable that in the following years (that is, the 1920s), this event influenced many ’calls to order’, to paraphrase the title of Jean Cocteau’s infamous 1923 essay. Therefore, in this paper, we first examined (in the most general terms) overall historical conditions which influenced the emergence of neoclassicism in Paris, before and shortly after The Great War. With this in mind, we also examined the overall conditions of the emergence of neoclassicism in Serbian music, which (acknowledging several modest attempts before The Second World War) appeared as a (sort of) dominant movement significantly later, compared to its French counterpart, that is, in the 1950s. At this point, the only correlation between the two neoclassicisms is that they both appear after significant, primarily destructive, historical events. Therefore, having in mind that after two wars of vast proportions, contexts changed, we examined the ways by which the composers (that is Igor Stravinsky and Milan Ristić, as case studies) tried to find a stable way into mainstream art and, to some extent, redevelop their poietics. PB - Belgrade : Faculty of Music T2 - New Sound International Journal of Music T1 - Annulling the Trauma: Neoclassicism as a Modernist (?) Antidote to Society’s Ills SP - 53 EP - 69 IS - 53 UR - https://hdl.handle.net/21.15107/rcub_dais_6278 ER -
@article{ author = "Bralović, Miloš", year = "2019", abstract = "In this paper, we shall examine the overall conditions of the emergence of neoclassicism in Paris, shortly after the First World War. Compared to that, the emergence of neoclassicism in Serbian music is also going to be examined having in mind that neoclassicism, as a dominant movement, appears in Serbian music significantly later – after the Second World War. At this point, the only correlation between the two neoclassicisms is that they both appear after the significant, primarily destructive historical events. What would their other similarities and differences be?, The First World War ended a hundred years ago. This historical event of colossal proportions significantly changed both European and world history. And it is very probable that in the following years (that is, the 1920s), this event influenced many ’calls to order’, to paraphrase the title of Jean Cocteau’s infamous 1923 essay. Therefore, in this paper, we first examined (in the most general terms) overall historical conditions which influenced the emergence of neoclassicism in Paris, before and shortly after The Great War. With this in mind, we also examined the overall conditions of the emergence of neoclassicism in Serbian music, which (acknowledging several modest attempts before The Second World War) appeared as a (sort of) dominant movement significantly later, compared to its French counterpart, that is, in the 1950s. At this point, the only correlation between the two neoclassicisms is that they both appear after significant, primarily destructive, historical events. Therefore, having in mind that after two wars of vast proportions, contexts changed, we examined the ways by which the composers (that is Igor Stravinsky and Milan Ristić, as case studies) tried to find a stable way into mainstream art and, to some extent, redevelop their poietics.", publisher = "Belgrade : Faculty of Music", journal = "New Sound International Journal of Music", title = "Annulling the Trauma: Neoclassicism as a Modernist (?) Antidote to Society’s Ills", pages = "53-69", number = "53", url = "https://hdl.handle.net/21.15107/rcub_dais_6278" }
Bralović, M.. (2019). Annulling the Trauma: Neoclassicism as a Modernist (?) Antidote to Society’s Ills. in New Sound International Journal of Music Belgrade : Faculty of Music.(53), 53-69. https://hdl.handle.net/21.15107/rcub_dais_6278
Bralović M. Annulling the Trauma: Neoclassicism as a Modernist (?) Antidote to Society’s Ills. in New Sound International Journal of Music. 2019;(53):53-69. https://hdl.handle.net/21.15107/rcub_dais_6278 .
Bralović, Miloš, "Annulling the Trauma: Neoclassicism as a Modernist (?) Antidote to Society’s Ills" in New Sound International Journal of Music, no. 53 (2019):53-69, https://hdl.handle.net/21.15107/rcub_dais_6278 .