Критичарски погледи Бранка Драгутиновића

Abstract

Студија је посвећена критичарском раду Бранка Драгутиновића (1903–1971) у београдском музичком часопису Звук (1932–1936). Један од најплоднијих и најзначајнијих српских музичких критичара XX века, Драгутиновић је у међуратном Звуку објавио близу шездесет музичких критика и приказа, укупног обима једне књиге од преко стотину страница. У студији се анализирају критичарев поступак и структура његових написа; прате се његови погледи на проблем опере / музичке драме, на оперету, музички виртуозитет, модерну музику и модерни национални стил. У раду се сагледава и Драгутиновићев однос према тумачењу музичке историје с позиција историјског материјализма, као и његов однос према југословенству и југословенско--бугарској сарадњи на пољу музике. Као прилог, студија доноси интегралну библиографију Драгутиновићевих написа у Звуку, која до сада није објављена.

Branko Dragutinović (1903‒1971) authored one of the most extensive critical oeuvres in the history of Serbian music. He was engaged in music criticism for almost half a century, from 1924 until his death. In the Belgrade music magazine Zvuk (Sound) (1932‒1936), he published 58 music critiques and critical reviews. He observed the work of the Opera and Ballet of the National Theater in Belgrade, concert life, lectures on music, and he also wrote about films that included art music. He published a large number of reviews of foreign and domestic musicological and ethnomusicological books, music magazines, sheet music editions, ethnomusicological and ethnochoreological editions, etc. His articles in Zvuk reveal his views on the art of music. Dragutinović valued virtuosity only as a necessary basis for the unfettered expression of musical performers. His views on modern art reveal that he saw a modernized national style as one of the desirable options for contemporary Serbian art. Also, his affinities were on the side of musical neoclassicism. He did not accept Arnold Schönberg, finding that his compositions represented the ultimate rationalization of European music and could be interesting only as an experiment on the way to a new artistic expression. Under the influence of the ideology of integral Yugoslavism, Dragutinović used the phrase Yugoslav people. Sensitive to social processes and opportunities, he also showed attention to publications that spoke about the musical activities of workers’ associations. He was aware of the influence of social, political, and economic factors on the history of music. Nevertheless, he considered that the art of music was, in the first place, an autonomous aesthetic activity and value. That is why he opposed the reductionism of those Marxist music writers who overemphasized the external context of the art of music to the detriment of its aesthetic purpose and function.