Recordings of Twentieth Century Serbian Church Chant – Material Evidence of Intangible Cultural Heritage
Članak u časopisu (Objavljena verzija)
Metapodaci
Prikaz svih podataka o dokumentuApstrakt
Traditional Orthodox Serbian church chant, based on the older Greek, Byzantine and Serbian church chant tradition, was set on its course at the end of the eighteenth and the beginning of the nineteenth century. In the history of Serbian church music this was a turning point to the new
period. After the Great Migrations of the Serbs to the Habsburg monarchy (at the end of the seventeenth century), the musical tradition with Byzantine basis and with the roots in the work of the brothers Cyril and Methodius continued its living and gradually modified in the new cultural space. Serbian, that is, Byzantine musical practice was ’confronted’ with the music of Western Europe and Europeanized Russian church music. Among the other influences, the diverse musical life in the new environment encouraged ’adaptation’ to the European musical style. Nevertheless, the need for preservation of the national identity and religious affiliation was dominant among Serbs in the Austro-Hungarian Empire.
Ključne reči:
Recordings / Twentieth Century / Serbian Church Chant / Intangible Cultural Heritage / Material EvidenceIzvor:
Journal of the International Society for Orthodox Church Music, 2022, 6, 1, 91-106Izdavač:
- Joensuu : The International Society for Orthodox Church Music
Finansiranje / projekti:
- Ministarstvo nauke, tehnološkog razvoja i inovacija Republike Srbije, institucionalno finansiranje - 200176 (Muzikološki institut SANU, Beograd) (RS-MESTD-inst-2020-200176)
Institucija/grupa
Музиколошки институт САНУ / Institute of Musicology SASATY - JOUR AU - Marjanović, Nataša PY - 2022 UR - https://dais.sanu.ac.rs/123456789/13482 AB - Traditional Orthodox Serbian church chant, based on the older Greek, Byzantine and Serbian church chant tradition, was set on its course at the end of the eighteenth and the beginning of the nineteenth century. In the history of Serbian church music this was a turning point to the new period. After the Great Migrations of the Serbs to the Habsburg monarchy (at the end of the seventeenth century), the musical tradition with Byzantine basis and with the roots in the work of the brothers Cyril and Methodius continued its living and gradually modified in the new cultural space. Serbian, that is, Byzantine musical practice was ’confronted’ with the music of Western Europe and Europeanized Russian church music. Among the other influences, the diverse musical life in the new environment encouraged ’adaptation’ to the European musical style. Nevertheless, the need for preservation of the national identity and religious affiliation was dominant among Serbs in the Austro-Hungarian Empire. PB - Joensuu : The International Society for Orthodox Church Music T2 - Journal of the International Society for Orthodox Church Music T1 - Recordings of Twentieth Century Serbian Church Chant – Material Evidence of Intangible Cultural Heritage SP - 91 EP - 106 VL - 6 IS - 1 DO - 10.57050/jisocm.113079 UR - https://hdl.handle.net/21.15107/rcub_dais_13482 ER -
@article{ author = "Marjanović, Nataša", year = "2022", abstract = "Traditional Orthodox Serbian church chant, based on the older Greek, Byzantine and Serbian church chant tradition, was set on its course at the end of the eighteenth and the beginning of the nineteenth century. In the history of Serbian church music this was a turning point to the new period. After the Great Migrations of the Serbs to the Habsburg monarchy (at the end of the seventeenth century), the musical tradition with Byzantine basis and with the roots in the work of the brothers Cyril and Methodius continued its living and gradually modified in the new cultural space. Serbian, that is, Byzantine musical practice was ’confronted’ with the music of Western Europe and Europeanized Russian church music. Among the other influences, the diverse musical life in the new environment encouraged ’adaptation’ to the European musical style. Nevertheless, the need for preservation of the national identity and religious affiliation was dominant among Serbs in the Austro-Hungarian Empire.", publisher = "Joensuu : The International Society for Orthodox Church Music", journal = "Journal of the International Society for Orthodox Church Music", title = "Recordings of Twentieth Century Serbian Church Chant – Material Evidence of Intangible Cultural Heritage", pages = "91-106", volume = "6", number = "1", doi = "10.57050/jisocm.113079", url = "https://hdl.handle.net/21.15107/rcub_dais_13482" }
Marjanović, N.. (2022). Recordings of Twentieth Century Serbian Church Chant – Material Evidence of Intangible Cultural Heritage. in Journal of the International Society for Orthodox Church Music Joensuu : The International Society for Orthodox Church Music., 6(1), 91-106. https://doi.org/10.57050/jisocm.113079 https://hdl.handle.net/21.15107/rcub_dais_13482
Marjanović N. Recordings of Twentieth Century Serbian Church Chant – Material Evidence of Intangible Cultural Heritage. in Journal of the International Society for Orthodox Church Music. 2022;6(1):91-106. doi:10.57050/jisocm.113079 https://hdl.handle.net/21.15107/rcub_dais_13482 .
Marjanović, Nataša, "Recordings of Twentieth Century Serbian Church Chant – Material Evidence of Intangible Cultural Heritage" in Journal of the International Society for Orthodox Church Music, 6, no. 1 (2022):91-106, https://doi.org/10.57050/jisocm.113079 ., https://hdl.handle.net/21.15107/rcub_dais_13482 .