Musical Modernism at the ‘Periphery’? Serbian Music in the First Half of the Twentieth Century
Музички модернизам на "периферији"? Cpncкa музика у првој половини XX века
Поглавље у монографији (Објављена верзија)
Метаподаци
Приказ свих података о документуАпстракт
I will start this paper with some observations which, at first sight, but only supposedly at that, have no relation to the title. They are the result of the subsequent thinking on certain aspects and effect of the 'encounters' and dialogues between 'musicology/ies of "centres'" and those of the 'periphery/ies'. Choosing to speak at the conference about Serbian music in the first half of the twentieth century which is in the focus of my long-term research, but which, from the perspective of Western 'Others'—at least according to the old cliche—belongs to the history of so-called 'small nations on the periphery of Europe', I was aware in advance of numerous limitations and barriers standing for a long time in the way of the reception of musicological discourses on a subject which has not found its place in the anthologies of the 'ever-lasting goods' of European music practice, the poetics and aesthetics of modernism. Neither has it
been recognized as one of the equal alterities of the m...usical identity of modern Europe.
Кључне речи:
Serbian music / 20th century / periphery of Europe / musicological discourses / European music practice / poetics of modernism / aesthetics of modernismИзвор:
Rethinking musical modernism / Музички модернизам - нова тумачења, 2008, 83-103Издавач:
- Belgrade : Serbian Academy of Science and Arts
- Belgrade : Institute of Musicology SASA
Напомена:
- Accepted at the II meeting of the Department of Fine Arts and Music of 20 June 2008, on the basis of the reviews presented by Academicians Dejan Despić and Dimitrije Stefanovć.
Институција/група
Музиколошки институт САНУ / Institute of Musicology SASATY - CHAP AU - Tomašević, Katarina PY - 2008 UR - https://dais.sanu.ac.rs/handle/123456789/3503 UR - https://dais.sanu.ac.rs/123456789/14634 AB - I will start this paper with some observations which, at first sight, but only supposedly at that, have no relation to the title. They are the result of the subsequent thinking on certain aspects and effect of the 'encounters' and dialogues between 'musicology/ies of "centres'" and those of the 'periphery/ies'. Choosing to speak at the conference about Serbian music in the first half of the twentieth century which is in the focus of my long-term research, but which, from the perspective of Western 'Others'—at least according to the old cliche—belongs to the history of so-called 'small nations on the periphery of Europe', I was aware in advance of numerous limitations and barriers standing for a long time in the way of the reception of musicological discourses on a subject which has not found its place in the anthologies of the 'ever-lasting goods' of European music practice, the poetics and aesthetics of modernism. Neither has it been recognized as one of the equal alterities of the musical identity of modern Europe. PB - Belgrade : Serbian Academy of Science and Arts PB - Belgrade : Institute of Musicology SASA T2 - Rethinking musical modernism / Музички модернизам - нова тумачења T1 - Musical Modernism at the ‘Periphery’? Serbian Music in the First Half of the Twentieth Century T1 - Музички модернизам на "периферији"? Cpncкa музика у првој половини XX века SP - 83 EP - 103 UR - https://hdl.handle.net/21.15107/rcub_dais_14634 ER -
@inbook{ author = "Tomašević, Katarina", year = "2008", abstract = "I will start this paper with some observations which, at first sight, but only supposedly at that, have no relation to the title. They are the result of the subsequent thinking on certain aspects and effect of the 'encounters' and dialogues between 'musicology/ies of "centres'" and those of the 'periphery/ies'. Choosing to speak at the conference about Serbian music in the first half of the twentieth century which is in the focus of my long-term research, but which, from the perspective of Western 'Others'—at least according to the old cliche—belongs to the history of so-called 'small nations on the periphery of Europe', I was aware in advance of numerous limitations and barriers standing for a long time in the way of the reception of musicological discourses on a subject which has not found its place in the anthologies of the 'ever-lasting goods' of European music practice, the poetics and aesthetics of modernism. Neither has it been recognized as one of the equal alterities of the musical identity of modern Europe.", publisher = "Belgrade : Serbian Academy of Science and Arts, Belgrade : Institute of Musicology SASA", journal = "Rethinking musical modernism / Музички модернизам - нова тумачења", booktitle = "Musical Modernism at the ‘Periphery’? Serbian Music in the First Half of the Twentieth Century, Музички модернизам на "периферији"? Cpncкa музика у првој половини XX века", pages = "83-103", url = "https://hdl.handle.net/21.15107/rcub_dais_14634" }
Tomašević, K.. (2008). Musical Modernism at the ‘Periphery’? Serbian Music in the First Half of the Twentieth Century. in Rethinking musical modernism / Музички модернизам - нова тумачења Belgrade : Serbian Academy of Science and Arts., 83-103. https://hdl.handle.net/21.15107/rcub_dais_14634
Tomašević K. Musical Modernism at the ‘Periphery’? Serbian Music in the First Half of the Twentieth Century. in Rethinking musical modernism / Музички модернизам - нова тумачења. 2008;:83-103. https://hdl.handle.net/21.15107/rcub_dais_14634 .
Tomašević, Katarina, "Musical Modernism at the ‘Periphery’? Serbian Music in the First Half of the Twentieth Century" in Rethinking musical modernism / Музички модернизам - нова тумачења (2008):83-103, https://hdl.handle.net/21.15107/rcub_dais_14634 .