dc.description.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
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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. | en |